acquainted with my dear Marina—My first time of speaking with her—Difficulty to obtain my mother's consent to our marriage—She makes trouble, thinking to do well—I am sent away from my betrothed, and return to bad habits—An escapade—The public baths of Vaga-Loggia—My clothes stolen,

35

CHAPTER IV.

Return to the house of my betrothed, and put an end to my thoughtless ways—A talking parrot—He who does not wish to read these pages knows what he has to do—How I went to prison, and how I passed my time there—"The Death of Ferruccio," by the painter Bertoli—Signor Luigi Magi, the sculptor—How I learnt to become economical—Shirts with plaited wrist-bands—The first love-kiss, and a little bunch of lemon-verbena—My marriage—My wife has doubts as to my resolution of studying sculpture—Pacetti's shop in Palazzo Borghese—I sell the "Santa Filomena" to a Russian, who re-christens her "Hope"—I begin to work on marble—I make a little crucifix in boxwood, which is bought by Cav. Emanuel Fenzi—Verses by Giovanni Battista Niccolini,

52

CHAPTER V.

A warning to young artists—Professor Cambi's propositions—A financial problem: to increase gain by diminishing the means that produce it—I leave Sani's shop to have more time and liberty to study—An imitation is not so bad, but a falsification is indeed an ugly thing—The Marchesa Poldi and a casket, supposed to be an antique—How a master should be—The death of my mother, September 1840—Opinion of the Academy—The "Tipsy Bacchante"—A divided vote—The "Cariatidi" of the Rossini Theatre at Leghorn,

72

CHAPTER VI.

An unjust law—The "Abel"—Brina the model and I in danger of being asphyxiated—My first request—Benvenuti wishes to change the name of my Abel for that of Adonis—I invite Bartolini to decide on the name of my statue—Bartolini at my studio—His advice and corrections on the Abel—Lorenzo Bartolini—Giuseppe Sabatelli—Exhibition of the Abel—It is said to be cast from life—I ask for a small studio, but do not obtain it—My second and last request—The President Antonio Montalvo—I don't succeed somehow in doing anything as I should—I talk over matters at home—Count del Benino a true friend and true benefactor—His generous action,

89

CHAPTER VII.

The Grand Duchess Maria of Russia and the commission for the Cain and Abel—The Prince of Leuchtenberg and a plate of caviale at Caffè Doney—An unusual amusement that did some good—Again the generosity of Count del Benino—Bartolini's Hunchback, and in consequence a return to the Abel—Bartolini gets angry with me—Examination of the materialistic or realistic in art—Effects of the realistic—Do not have girls alone by themselves for models—Subscription got up by the Sienese to have my Abel executed in marble—A new way of curing a cough—Signora Letizia's receipt, who sent it and paid for it herself—One must never offer works gratis, for they are not accepted—The Grand Duchess Marie Antoinetta orders the "Giotto" for the Uffizi—Has Abel killed Cain?—Statue of Pius II.—A foolish opinion and impertinent answer—I defy the law that prohibits eating,

110

CHAPTER VIII.

Literati at my studio, and their influence on my work—Calamatta's opinion of Tenerani, of Bartolini, and of myself—His defence of my Abel in Paris—Pius II.—Academicians and "Naturalisti"—Luigi Venturi—Prince Anatolia Demidoff and the Princess Matilde—The statuette in clay of the Princess Matilde is destroyed—Our minister Nigra presents me to the Emperor Napoleon III.—Beauty does not exist outside of nature—Praise puts one to sleep—The incoherence of Bartolini,

139

CHAPTER IX.

The political reforms of the year 1847 in Tuscany—My first scholars—Ciseri, Prati, Aleardi, Fusinato, Coletti, and Chiarini the improvisatore—Inedited verses by Prati—Giuseppe Verdi—A digression on artistic individuality—The Emperor of Russia's visit to my studio—Reactionary movement of the 12th of April 1849—I am in danger of my life—The return of the Grand Duke,

159

CHAPTER X.

My wife, my little girls, and my work—Death of my brother Lorenzo—Death of Lorenzo Bartolini—The base for the "Tazza"—Eight years of work, only to obtain a living—Mussini and his school—Pollastrini—The school in Via Sant'Apollini—Prince Demidoff and the monument by Bartolini—The Nymph of the Scorpion and the Nymph of the Serpent, by Bartolini—Marchese Ala—Count Arese—The four statuettes for Demidoff—Amerigo of the Prince Corsinis—His Royal Highness Count of Syracuse, a sculptor—"Sant'Antonino" statue at the Uffizi,

179

CHAPTER XI.

Close imitation from life—My illness—I am in danger of losing my life—Luigi del Punta, head physician at Court—The Grand Duke furnishes me with the means for going to Naples—I leave for Naples—A beggar impostor—Another and my boots—Sorrento—My Neapolitan friends—Professor Tartaglia and the hydropathic cure—The museum at Naples—Let us study the good wherever it is to be found—A strange presentation,

203

CHAPTER XII.

Pompeii—A cameo—Sketch for the Bacco della Crittogama—Professor Angelini the sculptor—One must not offer one's hand with too much freedom to ladies—A hard-hearted woman with small intelligence—The San Carlo, the San Carlino, the Fenice, and the Sebeto—Monument by Donatello at Naples—The Barocco and mistaken opinions—Dilettanti in the fine arts—Prince Don Sebastian of Bourbon—Is the beard a sign of being Legitimist or Liberal?—I am taken for a prince or something like one—"The bottle" for doorkeepers and custodi of the public museums of Naples—Phidias, Demosthenes, and Cicero all against Ruggero Bonghi,

223

CHAPTER XIII.

Never make a present of your works—Pope Rezzonico by