and again nudged the Count, who was beginning to think the cook more crazy than Gambara.

This serious and pious way of speaking of art interested the Milanese extremely. Seated between these two distracted brains, one so noble and the other so common, and making game of each other to the great entertainment of the crowd, there was a moment when the Count found himself wavering between the sublime and its parody, the farcical extremes of human life. Ignoring the chain of incredible events which had brought them to this smoky den, he believed himself to be the plaything of some strange hallucination, and thought of Gambara and Giardini as two abstractions.

Meanwhile, after a last piece of buffoonery from the deaf conductor in reply to Gambara, the company had broken up laughing loudly. Giardini went off to make coffee, which he begged the select few to accept, and his wife cleared the table. The Count, sitting near the stove between Marianna and Gambara, was in the very position which the mad musician thought most desirable, with sensuousness on one side and idealism on the other. Gambara finding himself for the first time in the society of a man who did not laugh at him to his face, soon diverged from generalities to talk of himself, of his life, his work, and the musical regeneration of which he believed himself to be the Messiah.

"Listen," said he, "you who so far have not insulted me. I will tell you the story of my life; not to make a boast of my perseverance, which is no virtue of mine, but to the greater glory of Him who has given me strength. You seem kind and pious; if you do not believe in me at least you will pity me. Pity is human; faith comes from God."

Andrea turned and drew back under his chair the foot that had been seeking that of the fair Marianna, fixing his eyes on her while listening to Gambara.

"I was born at Cremona, the son of an instrument maker, a fairly good performer and an even better composer," the musician began. "Thus at an early age I had mastered the laws of musical construction in its twofold aspects, the material and the spiritual; and as an inquisitive child I observed many things which subsequently recurred to the mind of the full-grown man.

"The French turned us out of our own home—my father and me. We were ruined by the war. Thus, at the age of ten I entered on the wandering life to which most men have been condemned whose brains were busy with innovations, whether in art, science, or politics. Fate, or the instincts of their mind which cannot fit into the compartments where the trading class sit, providentially guides them to the spots where they may find teaching. Led by my passion for music I wandered throughout Italy from theatre to theatre, living on very little, as men can live there. Sometimes I played the bass in an orchestra, sometimes I was on the boards in the chorus, sometimes under them with the carpenters. Thus I learned every kind of musical effect, studying the tones of instruments and of the human voice, wherein they differed and how they harmonized, listening to the score and applying the rules taught me by my father.

"It was hungry work, in a land where the sun always shines, where art is all pervading, but where there is no pay for the artist, since Rome is but nominally the Sovereign of the Christian world. Sometimes made welcome, sometimes scouted for my poverty, I never lost courage. I heard a voice within me promising me fame.

"Music seemed to me in its infancy, and I think so still. All that is left to us of musical effort before the seventeenth century, proves to me that early musicians knew melody only; they were ignorant of harmony and its immense resources. Music is at once a science and an art. It is rooted in physics and mathematics, hence it is a science; inspiration makes it an art, unconsciously utilizing the theorems of science. It is founded in physics by the very nature of the matter it works on. Sound is air in motion. The air is formed of constituents which, in us, no doubt, meet with analogous elements that respond to them, sympathize, and magnify them by the power of the mind. Thus the air must include a vast variety of molecules of various degrees of elasticity, and capable of vibrating in as many different periods as there are tones from all kinds of sonorous bodies; and these molecules, set in motion by the musician and falling on our ear, answer to our ideas, according to each man's temperament. I myself believe that sound is identical in its nature with light. Sound is light, perceived under another form; each acts through vibrations to which man is sensitive and which he transforms, in the nervous centres, into ideas.

"Music, like painting, makes use of materials which have the property of liberating this or that property from the surrounding medium and so suggesting an image. The instruments in music perform this part, as color does in painting. And whereas each sound produced by a sonorous body is invariably allied with its major third and fifth, whereas it acts on grains of fine sand lying on stretched parchment so as to distribute them in geometrical figures that are always the same, according to the pitch,—quite regular when the combination is a true chord, and indefinite when the sounds are dissonant,—I say that music is an art conceived in the very bowels of nature.

"Music is subject to physical and mathematical laws. Physical laws are but little known, mathematics are well understood; and it is since their relations have been studied, that the harmony has been created to which we owe the works of Haydn, Mozart, Beethoven, and Rossini, grand geniuses, whose music is undoubtedly nearer to perfection than that of their precursors, though their genius, too, is unquestionable. The old masters could sing, but they had not art and science at their command,—a noble alliance which enables us to merge into one the finest melody and the power of harmony.

"Now, if a knowledge of mathematical laws gave us these four great musicians, what may we not attain to if we can discover the physical laws in virtue of which—grasp this clearly—we may collect, in larger or smaller quantities, according to the proportions we may require, an ethereal substance diffused in the atmosphere which is the medium alike of music and of light, of the phenomena of vegetation and of animal life! Do you follow me? Those new laws would arm the composer with new powers by supplying him with instruments superior of those now in use, and perhaps with a potency of harmony immense as compared with that now at his command. If every modified shade of sound answers to a force, that must be known to enable us to combine all these forces in accordance with their true laws.

"Composers work with substances of which they know nothing. Why should a brass and a wooden instrument—a bassoon and horn—have so little identity of tone, when they act on the same matter, the constituent gases of the air? Their differences proceed from some displacement of those constituents, from the way they act on the elements which are their affinity and which they return, modified by some occult and unknown process. If we knew what the process was, science and art would both be gainers. Whatever extends science enhances art.

"Well, these are the discoveries I have guessed and made. Yes," said Gambara, with increasing vehemence, "hitherto men have noted effects rather than causes. If they could but master the causes, music would be the greatest of the arts. Is it not the one which strikes deepest to the soul? You see in painting no more than it shows you; in poetry you have only what the poet says; music goes far beyond this. Does it not form your taste, and rouse dormant memories? In a concert-room there may be a thousand souls; a strain is flung out from Pasta's throat, the execution worthily answering to the ideas that flashed through Rossini's mind as he wrote the air. That phrase of Rossini's, transmitted to those attentive souls, is worked out in so many different poems. To one it presents a woman long dreamed