e Italian might fare just as badly in America.
Readers of Lowell's Fireside travels will have noticed that the first of them is addressed to the Edelmann Story in Rome.
The true translation of this expression is Nobleman Story; that is, William W. Story, the sculptor, who modelled the statue of Edward Everett in the Boston public garden.
Lowell's biographer, however, does not appear to have been aware of the full significance of this paraphrase of Story's name.
When King Bomba II.
was Story's name.
When King Bomba II.
was expelled from Naples by Garibaldi he retired to Rome with his private possessions, including a large number of oil paintings.
Wishing to dispose of some of these, and being aware that Americans paid good prices, he applied to William Story to transact the business for him. This the sculptor did in a satisfactory manner; whereupon King Bomba, instead of rewarding Story with a cheque, conferred on him a patent of nobility.
It seems equally strange that Story should have accepted such a dubious
-School that Sumner first distinguished himself.
Judge Story, who had left the United States Supreme Bench to s, and the more brilliant scholar of the two; but Judge Story soon discovered that Phillips was studying as a mho works from the pure love of his subject.
William W. Story, who was a boy at this time, records the fact the two following years he edited the reports of Judge Story's decisions in the United States Circuit Courts. er went to Europe and we find from his letters to Judge Story, George S. Hillard, and others, that he had alreatherwise he might have been a sheriff himself.
Judge Story's letters of introduction opened the doors wide t 1844 was most probably owing to the influence of Judge Story, who had already marked Sumner out for the Supremker, but possessed greater resources for debate.
Judge Story had noticed long before that facts were so carefu constitutional questions it was felt that he had Judge Story's support behind him. His oration on Freedom Nati
y's studio to be cleaned, and thither we all proceeded in the best possible spirits.
We found a photographer named Giovanni Braccia on the floor a piano above Mr. Story; and after a lengthy discussion with him, in which Mr. Longfellow was the leading figure, he agreed to take the photographs at two napoleons a dozen.
These pt their faces were mostly in shadow, with bright line along the profile,an effect which it requires skill to render.
On returning to the street we looked into Mr. Story's outer room again, where the casts of all his statues were seated in a double row like persons at a theatre.
Mr. Appleton was rather severe in his criticism ofs surprised he had purchased it, for it did not seem to her a satisfactory copy; a conclusion that I had been slowly coming to myself.
She has a bronze replica of Story's Beethoven which, like most of his statues, is seated in a chair, and a rather realistic work, as Miss Cushman admitted.
I judged from the conversation at table
tle of an amateur, but he was the gentlemanly entertainer of those Americans who came to the city with good letters of introduction.
Hawthorne evidently fell into Story's hands.
He speaks slightingly of Crawford, and praises Story's statue of Cleopatra in unqualified terms; and yet there seems to have been an undercurrent of suspStory's statue of Cleopatra in unqualified terms; and yet there seems to have been an undercurrent of suspicion in his mind, for he says more than once in the Marble Faun that it would appear to be a failing with sculptors to speak unfavorably of the work of other sculptors, and this, of course, was perhaps more like Auerbach than any other writer of the nineteenth century, but still more like Goldsmith.
The Vicar of Wakefield and thhless Cleopatra in the Cassel Gallery, or from Marc Antonio's small woodcut of Raphael's Cleopatra.
Hawthorne was an idealist, and he idealized the materials in Story's studio, for literary purposes, just as Shakespeare idealized Henry V., who was not a magnanimous monarch at all, but a brutal, narrow-minded fighter.