enthusiasm that they passed a
resolution to the effect that the admirable young painter whom death
had snatched away from art so early should be nominated a member of the
Academy in his grave, and that masses should be read for the benefit of
his soul in the church of St. Luke. They therefore begged Salvator to
inform them what was the full name of the deceased, the date of his
birth, the place where he was born, &c.

Then Salvator rose and said in a loud voice, "Signors, the honour you
are anxious to render to a dead man you can more easily bestow upon a
living man who walks in your midst. Learn that the 'Magdalene at the
Saviour's Feet'--the picture which you so justly exalt above all other
artistic productions that the last few years have given us, is not the
work of a dead Neapolitan painter as I pretended (this I did simply to
get an unbiassed judgment from you); that painting, that masterpiece,
which all Rome is admiring, is from the hand of Signor Antonio
Scacciati, the chirurgeon."

The painters sat staring at Salvator as if suddenly thunderstruck,
incapable of either moving or uttering a single sound. He, however,
after quietly exulting over their embarrassment for some minutes,
continued, "Well now, signors, you would not tolerate the worthy
Antonio amongst you because he is a chirurgeon; but I think that the
illustrious Academy of St. Luke has great need of a surgeon to set the
limbs of the many crippled figures which emerge from the studios of a
good many amongst your number. But of course you will no longer scruple
to do what you ought to have done long ago, namely, elect that
excellent painter Antonio Scacciati a member of the Academy."

The Academicians, swallowing Salvator's bitter pill, feigned to be
highly delighted that Antonio had in this way given such incontestable
proofs of his talent, and with all due ceremony nominated him a member
of the Academy.

As soon as it became known in Rome that Antonio was the author of the
wonderful picture he was overwhelmed with congratulations, and even
with commissions for great works, which poured in upon him from all
sides. Thus by Salvator's shrewd and cunning stratagem the young man
emerged all at once out of his obscurity, and with the first real step
he took on his artistic career rose to great honour.

Antonio revelled in ecstasies of delight. So much the more therefore
did Salvator wonder to see him, some days later, appear with his face
pale and dis