would hurry away to the Assayer's Office with his precious find to claim a reward.

The end of this particular kind of fun came when the two boys walked into a shop and asked for John Libbel. The clerk burst out laughing and said, "You are the Stevenson boys who have fooled the town!" Jokes explained cease to be jokes, and the young men sorrowfully admitted that Libbel was dead and should be buried.

Robert Louis was an only son, and alternately was disciplined and then humored, as only sons usually are.

His father was a civil engineer in the employ of the Northern Lights Company, and it was his business to build and inspect lighthouses. At his office used to congregate a motley collection of lighthouse-keepers, retired sea-captains, mates out of a job—and with these sad dogs of the sea little Robert used to make close and confidential friendships.

While he was yet a child he made the trip to Italy with his mother, and brought back from Rome and from Venice sundry crucifixes, tear-bottles and "Saint Josephs," all duly blessed, and these he sold to his companions at so many whacks apiece. That is to say, the purchaser had to pay for the gift by accepting on his bare hand a certain number of whacks with a leather strap. If the recipient winced, he forfeited the present.

The boy was flat-chested and spindle-shanked and used to bank on his physical weakness when lessons were to be evaded. He was two years at the Edinburgh Academy, where he reduced the cutting of lectures and recitations to a system, and substituted Dumas and Scott for more learned men who prepared books for the sole purpose of confounding boys.

As for making an engineer of the young man, the stern, practical father grew utterly discouraged when he saw mathematics shelved for Smollett. Robert was then put to studying law with a worthy barrister.

Law is business, and to suppose that a young man who religiously spent his month's allowance the day it was received, could make a success at the bar shows the vain delusion that often fills the parental head.

Stevenson's essay, "A Defense of Idlers," shows how no time is actually lost, not even that which is idled away. But this is a point that is very hard to explain to ambitious parents.

The traditional throwing overboard of the son the day he is twenty-one, allowing him to sink or swim, survive or perish, did not prevail with the Stevensons. At twenty-two Robert Louis still had his one guinea a month, besides what he could cajole, beg or borrow from his father and mother. He grew to watch the mood of his mother, and has recorded that he never asked favors of his father before dinner.

At twenty-three he sold an essay for two pounds, and referred gaily to himself as "one of the most popular and successful essayists in Great Britain." He was still a child in spirit, dependent upon others for support. He looked like a girl with his big wide-open eyes and long hair. As for society, in the society sense, he abhorred it and would have despised it if he had despised anything. The soft platitudes of people who win distinction by being nothing, doing nothing, and saying nothing except what has been said before, moved him to mocking mirth. From childhood he was a society rebel. He wore his hair long, because society men had theirs cut close.

His short velvet coat, negligee shirt and wide-awake hat were worn for no better reason. His long cloak gave him a look of haunting mystery, and made one think of a stage hero or a robber you read of in books. Motives are mixed, and foolish folks who ask questions about why certain men do certain things, do not know that certain men do certain things because they wish to, and leave to others the explanation of the whyness of the wherefore.

People who always dress, talk and act alike do so for certain reasons well understood, but the man who does differently from the mass is not so easy to analyze and formulate.

The feminine quality in Robert Louis' nature shows itself in that he fled the company of women, and with them held no converse if he could help it. He never wrote a love-story, and once told Crockett that if he ever dared write one it would be just like "The Lilac Sunbonnet."

Yet it will not do to call Stevenson effeminate, even if he was feminine. He had a courage that outmatched his physique. Once in a cafe in France, a Frenchman made the remark that the English were a nation of cowards.

The words had scarcely passed his lips before Robert Louis flung the back of his hand in the Frenchman's face. Friends interposed and cards were passed, but the fire-eating Frenchman did not call for his revenge or apology—much to the relief of Robert Louis.

Plays were begun, stories blocked out, and great plans made by Robert Louis and his cousin for passing a hawser to literature and taking it in tow.

When Robert Louis was in his twenty-fourth year he found a copy of "Leaves of Grass," and he and his cousin Bob reveled in what they called "a genuine book." They heard that Michael Rossetti was to give a lecture on Whitman in a certain drawing-room.

The young men attended, without invitation, and walked in coatless, just as they had heard that Walt Whitman appeared at the Astor House in New York, when he went by appointment to meet Emerson. After hearing Rossetti discuss Whitman they got the virus fixed in their systems.

They walked up and down Princess Street in their shirt-sleeves, and saw fair ladies blush and look the other way. Next they tried sleeveless jerseys for street wear, and speculated as to just how much clothing they would have to abjure before women would entirely cease to look at them.

The hectic flush was upon the cheek of Robert Louis, and people said he was distinguished. "Death admires me, even if the publishers do not," he declared. The doctors gave orders that he should go South and he seized upon the suggestion and wrote "Ordered South"—and started. Bob went with him, and after a trip through Italy, they arrived at Barbizon to see the scene of "The Angelus," and look upon the land of Millet—Millet, whom Michael Rossetti called "The Whitman of Art."

Bob was an artist: he could paint, write, and play the flageolet. Robert Louis declared that his own particular velvet jacket and big coat would save him at Barbizon, even if he could not draw any to speak of. "In art the main thing is to look the part—or else paint superbly well," said Robert Louis.

The young men got accommodations at "Siron's." This was an inn for artists, artists of slender means—and the patrons at Siron's held that all genuine artists had slender means. The rate was five francs a day for everything, with a modest pro-rata charge for breakage. The rules were not strict, which prompted Robert Louis to write the great line, "When formal manners are laid aside, true courtesy is the more rigidly exacted." Siron's was an inn, but it was really much more like an exclusive club, for if the boarders objected to any particular arrival, two days was the outside limit of his stay. Buttinsky the bounder was interviewed and the early coach took the objectionable one away forever.

And yet no artist was ever sent away from Siron's—no matter how bad his work or how threadbare his clothes—if he was a worker; if he really tried to express beauty, all of his eccentricities were pardoned and his pot-boiling granted absolution. But the would-be Bohemian, or the man in search of a thrill, or if in any manner the party on probation suggested that Madame Siron was not a perfect cook and