and the dry and happy King sat in his lofty box
and wore his gloves to ribbons applauding.

"More yet!" cried the King; "more yet--let loose all the thunder, turn
on all the water! I will hang the man that raises an umbrella!"

When this most tremendous and effective storm that had ever been
produced in any theater was at last over, the King's approbation was
measureless. He cried:

"Magnificent, magnificent! ENCORE! Do it again!"

But the manager succeeded in persuading him to recall the encore, and
said the company would feel sufficiently rewarded and complimented
in the mere fact that the encore was desired by his Majesty, without
fatiguing him with a repetition to gratify their own vanity.

During the remainder of the act the lucky performers were those whose
parts required changes of dress; the others were a soaked, bedraggled,
and uncomfortable lot, but in the last degree picturesque. The stage
scenery was ruined, trap-doors were so swollen that they wouldn't work
for a week afterward, the fine costumes were spoiled, and no end of
minor damages were done by that remarkable storm.

It was a royal idea--that storm--and royally carried out. But observe
the moderation of the King; he did not insist upon his encore. If he had
been a gladsome, unreflecting American opera-audience, he probably would
have had his storm repeated and repeated until he drowned all those
people.

CHAPTER XI

[I Paint a "Turner"]

The summer days passed pleasantly in Heidelberg. We had a skilled
trainer, and under his instructions we were getting our legs in the
right condition for the contemplated pedestrian tours; we were well
satisfied with the progress which we had made in the German language,
[1. See Appendix D for information concerning this fearful tongue.] and
more than satisfied with what we had accomplished in art. We had had the
best instructors in drawing and painting in Germany--Haemmerling, Vogel,
Mueller, Dietz, and Schumann. Haemmerling taught us landscape-painting.
Vogel taught us figure-drawing, Mueller taught us to do still-life,
and Dietz and Schumann gave us a finishing course in two
specialties--battle-pieces and shipwrecks. Whatever I am in Art I owe to
these men. I have something of the manner of each and all of them;
but they all said that I had also a manner of my own, and that it
was conspicuous. They said there was a marked individuality about my
style--insomuch that if I ever painted the commonest