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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
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