Hans Andersen's Fairy Tales. Second Series

THE DROP OF WATER

If you look through a microscope at a single drop of ditch water, you will see a thousand odd-looking creatures, such as you never could imagine dwelled in water. They do not look unlike a whole plateful of shrimps, all jumping and crowding upon each other. So fierce are these little creatures that they will tear off each other's arms and legs without the least mercy, and yet after their fashion they look merry and happy.

Now there was once an old man, whom his neighbors called Cribbley Crabbley—a curious name, to be sure, which meant something like "creep-and-crawl." He always liked to make the most of everything, and when he could not manage it in the ordinary way, he tried magic.

One day he sat looking through his microscope at a drop of water that had been brought from a neighboring ditch. What a scene of scrambling and swarming it was, to be sure! All the thousands of little imps in the water jumped and sprang about, devouring each other, or tearing each other to bits.

"Upon my word this is really shocking. There must surely be some way to make them live in peace and quiet, so that each attends only to his own concerns." And he thought and thought, but still could not hit upon any plan, so he must needs have recourse to conjuring.

"I must give them color so that they may be seen more plainly," said he. Accordingly he poured something that looked like a drop of red wine—but which in reality was witch's blood—upon the drop of water. Immediately all the strange little creatures became red all over, and looked for all the world like a whole town full of naked red Indians.

"Why, what have you here?" asked another old magician, who had no name at all, which made him even more remarkable than Cribbley Crabbley.

"If you can find out what it is," replied Cribbley Crabbley, "I will give it you; but I warn you you'll not do so easily."

The conjurer without a name looked through the microscope, and it seemed to him that the scene before him was a whole town, in which the people ran about naked in the wildest way. It was quite shocking! Still more horrible was it to see how they kicked and cuffed, struggled and fought, pecked, bit, tore, and swallowed, each his neighbor. Those that were under wanted to be at the top, while those that chanced to be at the top must needs thrust themselves underneath.

"And now look, his leg is longer than mine, so off with it!" one seemed to be saying. Another had a little lump behind his ear,—an innocent little lump enough,—but it seemed to pain him, and therefore the others seemed determined that it should pain him more. So they hacked at it, and dragged the poor thing about, and at last ate him up, all on account of the little lump. One only of the creatures was quiet, a modest little maid, who sat by herself evidently wishing for nothing but peace and quietness. The others would not have it so, however. They soon pulled the little damsel forward, cuffed and tore her, and then ate her up.

"This is uncommonly droll and amusing!" said the nameless magician.

"Yes. But what do you think it is?" asked Cribbley Crabbley. "Can you make it out?"

"It is easy enough to guess, to be sure," was the reply of the nameless magician; "easy enough. It is either Paris or Copenhagen, or some other great city; I don't know which, for they are all alike. It is some great city, of course."

"It is a drop of ditch-water," said Cribbley Crabbley.

THE SWINEHERD

It was certainly rather bold of him to say, as he did, to the emperor's daughter, "Will you have me?" But he was renowned far and wide, and there were a hundred princesses who would have answered, "Yes," and, "Thank you kindly." We shall see what this princess said. Listen!

It happened that where the prince's father lay buried there grew a rose tree, a most beautiful rose tree, which blossomed only once in five years, and even then bore only one flower. Ah, but that was a rose! It smelled so sweet that all cares and sorrows were forgotten by those who inhaled its fragrance!

Moreover, the prince had a nightingale that could sing in such a manner that it seemed as if all sweet melodies dwelt in her little throat. Now the princess was to have the rose and the nightingale; and they were accordingly put into large silver caskets and sent to her.

The emperor had them brought into a large hall, where the princess and the ladies of the court were playing at "Visiting." When she saw the caskets with the presents, the princess clapped her hands for joy.

"Ah, if it should be a little pussy cat," exclaimed she. Instead, the rose tree, with its beautiful rose, came to view.

"Oh, how prettily it is made!" said all the court ladies.

"It is more than pretty," said the emperor; "it is charming."

The princess touched it and was ready to cry. "Fie, papa," said she, "it is not made at all. It is natural!"

"Fie," said all the court ladies; "it is natural!"

"Let us see what the other casket contains before we get into bad humor," proposed the emperor. So the nightingale came forth, and sang so delightfully that at first no one could say anything ill-humored of her.

"Superbe! charmant!" exclaimed the ladies, for they all used to chatter French, and each worse than her neighbor.

"How much the bird reminds me of the musical box that belonged to our blessed empress!" remarked an old knight. "Oh! yes, these are the same tunes, the same execution."

"Yes, yes!" said the emperor, and at the remembrance he wept like a child.

"I still hope it is not a real bird," said the princess.

"Yes, it is a real bird," said those who had brought it.

"Well, then, let the bird fly," returned the princess. And she positively refused to see the prince.

However, he was not to be discouraged. He stained his face brown and black, pulled his cap over his ears, and knocked at the door of the castle.

"Good day to my lord the emperor," said he. "Can I have employment here at the palace?"

"Why, yes," said the emperor. "It just occurs to me that I want some one to take care of the pigs, there are so many of them."

So the prince came to be the imperial swineherd.

He had a miserable little room, close by the pigsty, and here he was obliged to stay; and he sat the whole day long and worked. By evening he had made a pretty little saucepan. Little bells were hung all around it; and when the pot was boiling, the bells tinkled in the most charming manner, and played the old melody,

Now the princess happened to walk that way with her court ladies, and when she heard the tune she stood quite still and seemed pleased, for she could play "Dearest Augustine." It was the only piece she knew, and she played it with one finger.

"Why, that is the piece that I play on the piano!" said the princess. "That swineherd must certainly have been well educated. Go in and ask him the price of the instrument."

So one of the court ladies had to go in, but she drew on wooden slippers first.

"What will you take for the saucepan?" inquired the lady.

"I must have ten kisses from the princess," said the swineherd.

"Heaven preserve us!" exclaimed the maid of honor.

"I cannot sell it for less," answered the swineherd.

"Well, what does he say?" asked the princess.

"I cannot tell you, really," replied the lady. "It is too dreadful."

"Then you may whisper it." So the lady whispered it.

"He is an impudent fellow," said the princess, and she walked on. But when she had gone a little way, the bells again tinkled prettily,

"Stay!" said the princess. "Ask him if he will have ten kisses from the ladies of my court."

"No, thank you!" answered the swineherd. "Ten kisses from the princess, or I keep the saucepan myself."

"How tiresome! That must not be either!" said the princess; "but do you all stand before me, that no one may see us."

The court ladies placed themselves in front of her, and spread out their dresses. So the swineherd got ten kisses, and the princess got the saucepan.

That was delightful! The saucepan was kept boiling all the evening and the whole of the following day. They knew perfectly well what was cooking on every hearth in the city, from the chamberlain's to the cobbler's. The court ladies danced and clapped their hands.

"We know who has soup, and who has pancakes for dinner to-day; who has cutlets, and who has eggs. How interesting!"

"Yes, but keep my secret, for I am an emperor's daughter."

The prince—that is, the swineherd, for no one knew that he was other than an ill-favored swineherd—let not a day pass without working at something. At last he constructed a rattle, which, when it was swung round and round, played all the waltzes and jig tunes which have been heard since the creation of the world.

"Ah, that is superbe!" said the princess, when she passed by. "I have never heard prettier compositions. Go in and ask him the price of the instrument. But mind, he shall have no more kisses."

"He will have a hundred kisses from the princess," said the lady who had been to ask.

"He is not in his right senses," said the princess, and walked on. But when she had gone a little way she stopped again. "One must encourage art," said she; "I am the emperor's daughter. Tell him he shall, as on yesterday, have ten kisses from me, and may take the rest from the ladies of the court."

"Oh, but we should not like that at all," said the ladies.

"What are you muttering?" asked the princess. "If I can kiss him, surely you can! Remember I give you food and wages."

"A hundred kisses from the princess," said he, "or else let every one keep his own."

"Stand round," said she, and all the ladies stood round as before.

"What can be the reason for such a crowd close by the pigsty?" asked the emperor, who happened just then to step out on the balcony. He rubbed his eyes and put on his spectacles.

"They are the ladies of the court. I must go and see what they are about." So he pulled up his slippers at the heel, for he had trodden them down.

As soon as he had got into the courtyard he moved very softly, and the ladies were so much engrossed with counting the kisses that they did not perceive the emperor. He rose on his tiptoes.

"What is all this?" said he, when he saw what was going on, and he boxed the princess's ear with his slipper, just as the swineherd was taking the eighty-sixth kiss.

"Be off with you! March out!" cried the emperor, for he was very angry. Both princess and swineherd were thrust out of the city, and the princess stood and wept, while the swineherd scolded, and the rain poured down.

"Alas, unhappy creature that I am!" said the princess. "If I had but married the handsome young prince! Ah, how unfortunate I am!"

The swineherd went behind a tree, washed the black and brown from his face, threw off his dirty clothing, and stepped forth in his princely robes. He looked so noble that the princess could not help bowing before him.

"I have come to despise thee," said he. "Thou wouldst not have an honorable prince! Thou couldst not prize the rose and the nightingale, but thou wast ready to kiss the swineherd for the sake of a trumpery plaything. Thou art rightly served."

He then went back to his own little kingdom, where he shut the door of his palace before her very eyes. Now she might well sing,

THE METAL PIG

It was late on a winter evening. The mountains were covered with snow, but the moon shone brightly, and moonlight in Italy is as good as the light of gray winter's day in the north. Indeed, it is better, for the clear air seems to raise us above the earth; while in the north a cold, gray, leaden sky appears to press us down to earth, even as the cold, damp earth shall one day press on us in the grave.

In the garden of the grand duke's palace, under the roof of one of the wings, where a thousand roses bloom in winter, a little ragged boy had been sitting the whole day long. The boy might serve as a type of Italy: lovely and smiling, and yet suffering. He was hungry and thirsty, but no one gave him anything; and when it became dark and they were about to close the gardens, the porter turned him out. A long time he stood musing on the bridge which crosses the Arno and looking at the glittering stars that were reflected in the water which flowed between him and the wonderful marble bridge Delia Trinità. He then walked away towards the Metal Pig, half knelt down, clasped it with his arms, and, putting his mouth to the shining snout, drank deep draughts of the fresh water. Close by lay a few salad leaves and two chestnuts, which were to serve for his supper. No one was in the street but himself. It belonged only to him. He boldly seated himself on the pig's back, leaned forward so that his curly head could rest on the head of the animal, and, before he was aware, fell asleep.

It was midnight. The Metal Pig raised himself gently, and the boy heard him say quite distinctly, "Hold tight, little boy, for I am going to run"; and away he started for a most wonderful ride. First they arrived at the Piazza del Granduca, and the metal horse which bears the duke's statue neighed aloud. The painted coats of arms on the old council house shone like transparent pictures, and Michelangelo's "David" swung his sling. It was as if everything had life. The metallic groups of figures, among which were "Perseus" and "The Rape of the Sabines," looked like living persons, and cries of terror sounded from them all across the noble square. By the Palazzo degli Uffizi, in the arcade where the nobility assembled for the carnival, the Metal Pig stopped. "Hold fast," said the animal, "hold fast, for I am going upstairs."

The little boy said not a word. He was half pleased and half afraid. They entered a long gallery, where the boy had been before. The walls were resplendent with paintings, and here and there stood statues and busts, all in a clear light as if it were day. The grandest sight appeared when the door of a side room opened. The little boy could remember what beautiful things he had seen there, but to-night everything shone in its brightest colors. Here stood the figure of a beautiful woman, as radiantly beautiful as nature and the art of one of the great masters could make her. Her graceful limbs appeared to move; dolphins sprang at her feet, and immortality shone from her eyes. The world called her the "Venus de' Medici." By her side were statues of stone, in which the spirit of life breathed; figures of men, one of whom whetted his sword and was named "The Grinder"; fighting gladiators, for whom the sword had been sharpened, and who strove for the goddess of beauty. The boy was dazzled by so much glitter, for the walls were gleaming with bright colors. Life and movement were in everything.

As they passed from hall to hall, beauty showed itself in whatever they saw; and, as the Metal Pig went step by step from one picture to another, the little boy could see it all plainly. One glory eclipsed another; yet there was one picture that fixed itself on the little boy's memory more especially, because of the happy children it represented; for these the little boy had seen in daylight. Many pass this picture with indifference, and yet it contains a treasure of poetic feeling. It represents Christ descending into Hades. It is not those who are lost that one sees, but the heathen of olden times.

The Florentine, Angiolo Bronzino, painted this picture. Most beautiful is the expression on the faces of two children who appear to have full confidence that they shall reach heaven at last. They are embracing each other, and one little one stretches out his hand towards another who stands below them, and points to himself as if he were saying, "I am going to heaven." The older people stand as if uncertain yet hopeful, and bow in humble adoration to the Lord Jesus. On this picture the boy's eyes rested longer than on any other, and the Metal Pig stood still before it. A low sigh was heard. Did it come from the picture or from the animal? The boy raised his hands toward the smiling children, and then the pig ran off with him through the open vestibule.

"Thank you, thank you, you beautiful animal," said the little boy, caressing the Metal Pig as it ran down the steps.

"Thanks to yourself also," replied the Metal Pig. "I have helped you and you have helped me, for it is only when I have an innocent child on my back that I receive the power to run. Yes, as you see, I can even venture under the rays of the lamp in front of the picture of the Madonna, but I must not enter the church. Still, from without, and while you are upon my back, I may look in through the open door. Do not get down yet, for if you do, then I shall be lifeless, as you have seen me in the daytime in the Porta Rosa."

"I will stay with you, my dear creature," said the little boy. So they went on at a rapid pace through the streets of Florence, till they came to the square before the church of Santa Croce. The folding doors flew open, and lights streamed from the altar, through the church, into the deserted square. A wonderful blaze of light streamed from one of the monuments in the left aisle, and a thousand moving stars formed a kind of glory round it. Even the coat of arms on the tombstone shone, and a red ladder on a blue field gleamed like fire. It was the grave of Galileo. The monument is unadorned, but the red ladder is an emblem of art—signifying that the way to glory leads up a shining ladder, on which the great prophets rise to heaven like Elijah of old. In the right aisle of the church every statue on the richly carved sarcophagi seemed endowed with life. Here stood Michelangelo; there Dante, with the laurel wreath around his brow; Alfieri and Machiavelli; for here, side by side, rest the great men, the pride of Italy.

The church itself is very beautiful, even more beautiful than the marble cathedral at Florence, though not so large. It seemed as if the carved vestments stirred, and as if the marble figures which they covered raised their heads higher to gaze upon the brightly colored, glowing altar, where the white-robed boys swung the golden censers amid music and song; and the strong fragrance of incense filled the church and streamed forth into the square. The boy stretched out his hands toward the light, and at the same moment the Metal Pig started again, so rapidly that he was obliged to cling tightly to him. The wind whistled in his ears. He heard the church door creak on its hinges as it closed, and it seemed to him as if he had lost his senses; then a cold shudder passed over him, and he awoke.

It was morning. The Metal Pig stood in its old place on the Porta Rosa, and the boy found that he had nearly slipped off its back. Fear and trembling came upon him as he thought of his mother. She had sent him out the day before to get some money, but he had not been able to get any, and now he was hungry and thirsty. Once more he clasped the neck of his metal steed, kissed its nose, and nodded farewell to it. Then he wandered away into one of the narrowest streets, where there was scarcely room for a loaded donkey to pass. A great iron-bound door stood ajar; and, passing through, he climbed a brick staircase with dirty walls, and a rope for balustrade, till he came to an open gallery hung with rags. From here a flight of steps led down to a court, where from a fountain water was drawn up by iron rollers to the different stories of the house. Many water buckets hung side by side. Sometimes the roller and the bucket danced in the air, splashing the water all over the court. Another broken-down staircase led from the gallery, and two Russian sailors running down it almost upset the poor boy. They were coming from their nightly carousal. A woman, not very young, with an unpleasant face and a quantity of black hair, followed them. "What have you brought home?" she asked when she saw the boy.

"Don't be angry," he pleaded. "I received nothing, I have nothing at all"; and he seized his mother's dress and would have kissed it. Then they went into a little room. I need not describe it, but only say that there stood in it an earthen pot with handles, made for holding fire, which in Italy is called a marito. This pot she took in her lap, warmed her fingers, and pushed the boy with her elbow.

"Certainly you must have some money," she said. The boy began to cry, and then she struck him till he cried aloud.

"Be quiet, or I'll break your screaming head." She swung about the fire pot which she held in her hand, while the boy crouched to the earth and screamed. Then a neighbor came in, who also had a marito under her arm. "Felicita," she said, "what are you doing to the child?"

"The child is mine," she answered; "I can murder him if I like, and you too, Giannina."

Then again she swung the fire pot about. The other woman lifted hers up to defend herself, and the two pots clashed so violently that they were dashed to pieces and fire and ashes flew about the room.

The boy rushed out at the sight, sped across the courtyard, and fled from the house. The poor child ran till he was quite out of breath. At last he stopped at the church the doors of which were opened to him the night before, and went in. Here everything was bright, and the boy knelt down by the first tomb on his right hand, the grave of Michelangelo, and sobbed as if his heart would break. People came and went; the service went on, but no one noticed the boy except an elderly citizen, who stood still and looked at him for a moment and then went away like the rest. Hunger and thirst overpowered the child, and he became quite faint and ill. At last he crept into a corner behind the marble monuments and went to sleep. Towards evening he was awakened by a pull at his sleeve. He started up, and the same old citizen stood before him.

"Are you ill? Where do you live? Have you been here all day?" were some of the questions asked by the old man. After hearing his answers, the old man took him to a small house in a back street close by. They entered a glovemaker's shop, where a woman sat sewing busily. A little white poodle, so closely shaved that his pink skin could plainly be seen, frisked about the room and gamboled over the boy.

"Innocent souls are soon intimate," said the woman, as she caressed both the boy and the dog.

These good people gave the child food and drink, and said he should stay with them all night, and that the next day the old man, who was called Giuseppe, would go and speak to his mother. A simple little bed was prepared for him, but to him who had so often slept on the hard stones it was a royal couch, and he slept sweetly and dreamed of the splendid pictures, and of the Metal Pig. Giuseppe went out the next morning, and the poor child was not glad to see him go, for he knew that the old man had gone to his mother, and that perhaps he would have to return. He wept at the thought, and then played with the lively little dog and kissed it, while the old woman looked kindly at him to encourage him.

What news did Giuseppe bring back? At first the boy could not find out, for the old man talked to his wife, and she nodded and stroked the boy's cheek. Then she said, "He is a good lad, he shall stay with us. He may become a clever glovemaker, like you. Look what delicate fingers he has. Madonna intended him for a glovemaker."

So the boy stayed with them, and the woman herself taught him to sew. He ate well, and slept well, and became very merry. But at last he began to tease Bellissima, as the little dog was called. This made the woman angry, and she scolded him and threatened him, which made him unhappy, and he went and sat in his own room, full of sad thoughts. This chamber looked out upon the street, in which hung skins to dry, and there were thick iron bars across his window. That night he lay awake, thinking of the Metal Pig. Indeed, it was always in his thoughts. Suddenly he fancied he heard feet outside going pitapat. He sprang out of bed and went to the window. Could it be the Metal Pig? But there was nothing to be seen. Whatever he had heard had passed already.

"Go help the gentleman to carry his box of colors," said the woman the next morning when their neighbor, the artist, passed by, carrying a paint box and a large roll of canvas. The boy instantly took the box and followed the painter. They walked on till they reached the picture gallery, and mounted the same staircase up which he had ridden that night on the Metal Pig. He remembered all the pictures and statues, especially the marble Venus, and again he looked at the Madonna with the Saviour and St. John. They stopped before the picture by Il Bronzino, in which Christ is represented as standing in the lower world, with the children smiling before him in the sweet expectation of entering heaven. The poor boy smiled, too, for here was his heaven.

"You may go home now," said the painter, while the boy stood watching him till he had set up his easel.

"May I see you paint?" asked the boy. "May I see you put the picture on this white canvas?"

"I am not going to paint," replied the artist, bringing out a piece of chalk. His hand moved quickly, and his eye measured the great picture, and though nothing appeared but a faint line, the figure of the Saviour was as clearly visible as in the colored picture.

"Why don't you go?" said the painter. Then the boy wandered home silently, and seated himself on the table, and learned to sew gloves. But all day long his thoughts were in the picture gallery, and so he pricked his fingers and was awkward. But he did not tease Bellissima. When evening came, and the house door stood open, he slipped out. It was a bright, beautiful, starlight evening, but rather cold. Away he went through the already deserted streets, and soon came to the Metal Pig. He stooped down and kissed its shining nose, and then seated himself on its back.

"You happy creature," he said; "how I have longed for you! We must take a ride to-night."

But the Metal Pig lay motionless, while the fresh stream gushed forth from its mouth. The little boy still sat astride its back, when he felt something pulling at his clothes. He looked down, and there was Bellissima, little smooth-shaven Bellissima, barking as if she would have said, "Here I am, too. Why are you sitting there?"

A fiery dragon could not have frightened the little boy so much as did the little dog in this place. Bellissima in the street and not dressed! as the old lady called it. What would be the end of this? The dog never went out in winter, unless she was attired in a little lambskin coat, which had been made for her. It was fastened round the little dog's neck and body with red ribbons, and decorated with rosettes and little bells. The dog looked almost like a little kid when she was allowed to go out in winter and trot after her mistress. Now, here she was in the cold, and not dressed. Oh, how would it end? All his fancies were quickly put to flight; yet he kissed the Metal Pig once more, and then took Bellissima in his arms. The poor little thing trembled so with cold that the boy ran homeward as fast as he could.

"What are you running away with there?" asked two of the police whom he met, and at whom the dog barked. "Where have you stolen that pretty dog?" they asked, and took it away from him.

"Oh, I have not stolen it. Do give it back to me," cried the boy, despairingly.

"If you have not stolen it, you may say at home that they can send to the watch-house for the dog." Then they told him where the watch-house was, and went away with Bellissima.

Here was trouble indeed. The boy did not know whether he had better jump into the Arno or go home and confess everything. They would certainly kill him, he thought.

"Well, I would gladly be killed," he reasoned; "for then I should die and go to heaven." And so he went home, almost hoping for death.

The door was locked, and he could not reach the knocker. No one was in the street, so he took up a stone and with it made a tremendous noise at the door.

"Who is there?" asked somebody from within.

"It is I," said he. "Bellissima is gone. Open the door, and then kill me."

Then, indeed, there was a great panic, for madam was so very fond of Bellissima. She immediately looked at the wall where the dog's dress usually hung; and there was the little lambskin.

"Bellissima in the watch-house!" she cried. "You bad boy! How did you entice her out? Poor little delicate thing, with those rough policemen! And she'll be frozen with cold."

Giuseppe went off at once, while his wife lamented and the boy wept. Several of the neighbors came in, and among them the painter. He took the boy between his knees and questioned him. Soon he heard the whole story, told in broken sentences, and also about the Metal Pig and the wonderful ride to the picture gallery, which was certainly rather incomprehensible. The painter, however, consoled the little fellow, and tried to soften the woman's anger, but she would not be pacified till her husband returned from the police with Bellissima. Then there was great rejoicing, and the painter caressed the boy and gave him a number of pictures.

Oh, what beautiful pictures those were—figures with funny heads! And, best of all, the Metal Pig was there, too. Nothing could be more delightful! By means of a few strokes it was made to appear on the paper; and even the house that stood behind it had been sketched. Oh, if he could only draw and paint! He who could do this could conjure all the world before him. The first leisure moment during the next day the boy got a pencil, and on the back of one of the other drawings he attempted to copy the drawing of the Metal Pig, and he succeeded. Certainly it was rather crooked, rather up and down, one leg thick, and another thin. Still it was like the copy, and he was overjoyed at what he had done. The pencil would not go quite as it ought, he had found, but the next day he tried again. A second pig was drawn by the side of the first, and this looked a hundred times better. The third attempt was so good that everybody could see what it was meant to represent.

And now the glovemaking went on but slowly. The orders given by the shops in the town were not finished quickly; for the Metal Pig had taught the boy that all objects may be drawn upon paper, and Florence is a picture book in itself for any one who chooses to turn over its pages. On the Piazza della Trinità stands a slender pillar, and upon it is the goddess of justice blindfolded, with her scales in her hand. She was soon represented on paper, and it was the glovemaker's boy who placed her there. His collection of pictures increased, but as yet they were only copies of lifeless objects, when one day Bellissima came gamboling before him. "Stand still," cried he, "and I will draw you beautifully, to put in my collection."

Bellissima would not stand still, so she must be bound fast in one position. He tied her head and tail, but she barked and jumped and so pulled and tightened the string that she was nearly strangled. And just then her mistress walked in.

"You wicked boy! The poor little creature!" was all she could utter.

She pushed the boy from her, thrust him away with her foot, called him a most ungrateful, good-for-nothing, wicked boy, and forbade him to enter her house again. Then she wept, and kissed her little half-strangled Bellissima. At this moment the painter entered the room—and here is the turning point of the story.

In the year 1834 there was an exhibition in the Academy of Arts at Florence. Two pictures, placed side by side, attracted many people. The smaller of the two represented a little boy sitting at a table drawing. Before him was a little white poodle, curiously shaven, but as the animal would not stand still, its head and tail had been fastened with a string, to keep it in one position. The truthfulness and life in this picture interested every one. The painter was said to be a young Florentine, who had been found in the streets when a child by an old glovemaker, who had brought him up. The boy had taught himself to draw. It was also said that a young artist, now famous, had discovered this talent in the child just as he was about to be sent away for having tied up madam's favorite little dog to use as a model.

The glovemaker's boy had become a really great painter, as the picture proved; but the larger picture by its side was a still greater proof of his talent. It represented a handsome boy asleep, clothed in rags and leaning against the Metal Pig, in the street of the Porta Rosa. All the spectators knew the spot well. The child's arms were round the neck of the Pig, and he was in a deep sleep. The lamp before the picture of the Madonna threw a strong light on the pale, delicate face of the child. It was a beautiful picture. A large gilt frame surrounded it, and on one corner of the frame a laurel wreath had been hung. But a black band, twined unseen among the green leaves, and a streamer of crape hung down from it; for within the last few days the young artist had—died.

THE FLYING TRUNK

His son inherited his wealth, and lived a merry life with it. He went to a masquerade every night, made kites out of five-pound notes, and threw pieces of gold into the sea instead of stones, making ducks and drakes of them.

In this manner he soon lost all his money. At last he had nothing left but a pair of slippers, an old dressing gown, and four shillings. And now all his companions deserted him. They would not walk with him in the streets, but one of them, who was very good-natured, sent him an old trunk with this message, "Pack up!"

"Yes," he said, "it is all very well to say 'pack up.'" But he had nothing left to pack, therefore he seated himself in the trunk.

It was a very wonderful trunk, for no sooner did any one press on the lock than the trunk could fly. He shut the lid and pressed the lock, when away flew the trunk up the chimney, with him in it, right up into the clouds. Whenever the bottom of the trunk cracked he was in a great fright, for if the trunk had fallen to pieces, he would have turned a tremendous somersault over the trees. However, he arrived safely in Turkey. He hid the trunk in a wood under some dry leaves and then went into the town. This he could do very well, for among the Turks people always go about in dressing gowns and slippers, just as he was.

He happened to meet a nurse with a little child. "I say, you Turkish nurse," cried he, "what castle is that near the town, with the windows placed so high?"

"The Sultan's daughter lives there," she replied. "It has been prophesied that she will be very unhappy about a lover, and therefore no one is allowed to visit her unless the king and queen are present."

"Thank you," said the merchant's son. So he went back to the wood, seated himself in his trunk, flew up to the roof of the castle, and crept through the window into the room where the princess lay asleep on the sofa. She awoke and was very much frightened, but he told her he was a Turkish angel who had come down through the air to see her. This pleased her very much. He sat down by her side and talked to her, telling her that her eyes were like beautiful dark lakes, in which the thoughts swam about like little mermaids; and that her forehead was a snowy mountain which contained splendid halls full of pictures. He related to her the story about the stork, who brings the beautiful children from the rivers. These stories delighted the princess, and when he asked her if she would marry him, she consented immediately.

"But you must come on Saturday," she said, "for then my parents will take tea with me. They will be very proud when they find that I am going to marry a Turkish angel. But you must think of some very pretty stories to tell them, for they like to hear stories better than anything. My mother prefers one that is deep and moral, but my father likes something funny, to make him laugh."

"Very well," he replied, "I shall bring you no other marriage portion than a story"; and so they parted. But the princess gave him a sword studded with gold coins, and these he could make useful.

He flew away to the town and bought a new dressing gown, and afterwards returned to the wood, where he composed a story so as to be ready by Saturday; and that was no easy matter. It was ready, however, when he went to see the princess on Saturday. The king and queen and the whole court were at tea with the princess, and he was received with great politeness.

"Will you tell us a story?" said the queen; "one that is instructive and full of learning."

"Yes, but with something in it to laugh at," said the king.

"Certainly," he replied, and commenced at once, asking them to listen attentively.

"There was once a bundle of matches that were exceedingly proud of their high descent. Their genealogical tree—that is, a great pine tree from which they had been cut—was at one time a large old tree in the wood. The matches now lay between a tinder box and an old iron saucepan and were talking about their youthful days. 'Ah! then we grew on the green boughs,' said they, 'and every morning and evening we were fed with diamond drops of dew. Whenever the sun shone we felt his warm rays, and the little birds would relate stories to us in their songs. We knew that we were rich, for the other trees only wore their green dresses in summer, while our family were able to array themselves in green, summer and winter. But the woodcutter came like a great disaster, and our family fell under the ax. The head of the house obtained a situation as mainmast in a very fine ship and can sail round the world whenever he will. Other branches of the family were taken to different places, and our own office now is to kindle a light for common people. This is how such highborn people as we came to be in a kitchen.'

"'Mine has been a very different fate,' said the iron pot, which stood by the matches. 'From my first entrance into the world I have been used to cooking and scouring. I am the first in this house when anything solid or useful is required. My only pleasure is to be made clean and shining after dinner and to sit in my place and have a little sensible conversation with my neighbors. All of us excepting the water bucket, which is sometimes taken into the courtyard, live here together within these four walls. We get our news from the market basket, but it sometimes tells us very unpleasant things about the people and the government. Yes, and one day an old pot was so alarmed that it fell down and was broken in pieces.'

"'You are talking too much,' said the tinder box; and the steel struck against the flint till some sparks flew out, crying, 'We want a merry evening, don't we?'

"'Yes, of course,' said the matches. 'Let us talk about those who are the highest born.'

"'No, I don't like to be always talking of what we are,' remarked the saucepan. 'Let us think of some other amusement; I will begin. We will tell something that has happened to ourselves; that will be very easy, and interesting as well. On the Baltic Sea, near the Danish shore—'

"'What a pretty commencement!' said the plates. 'We shall all like that story, I am sure.'

"'Yes. Well, in my youth I lived in a quiet family where the furniture was polished, the floors scoured, and clean curtains put up, every fortnight.'

"'What an interesting way you have of relating a story,' said the carpet broom. 'It is easy to perceive that you have been a great deal in society, something so pure runs through what you say.'

"'That is quite true,' said the water bucket; and it made a spring with joy and splashed some water on the floor.

"Then the saucepan went on with its story, and the end was as good as the beginning.

"The plates rattled with pleasure, and the carpet broom brought some green parsley out of the dust hole and crowned the saucepan. It knew this would vex the others, but it thought, 'If I crown him to-day, he will crown me to-morrow.'

"'Now let us have a dance,' said the fire tongs. Then how they danced and stuck one leg in the air! The chair cushion in the corner burst with laughter at the sight.

"'Shall I be crowned now?' asked the fire tongs. So the broom found another wreath for the tongs.

"'They are only common people after all,' thought the matches. The tea urn was now asked to sing, but she said she had a cold and could not sing unless she felt boiling heat within. They all thought this was affectation; they also considered it affectation that she did not wish to sing except in the parlor, when on the table with the grand people.

"In the window sat an old quill pen, with which the maid generally wrote. There was nothing remarkable about the pen, except that it had been dipped too deeply in the ink; but it was proud of that.

"'If the tea urn won't sing,' said the pen, 'she needn't. There's a nightingale in a cage outside, that can sing. She has not been taught much, certainly, but we need not say anything this evening about that.'

"'I think it highly improper,' said the teakettle, who was kitchen singer and half brother to the tea urn, 'that a rich foreign bird should be listened to here. Is it patriotic? Let the market basket decide what is right.'

"'I certainly am vexed,' said the basket, 'inwardly vexed, more than any one can imagine. Are we spending the evening properly? Would it not be more sensible to put the house in order? If each were in his own place, I would lead a game. This would be quite another thing.'

"'Let us act a play,' said they all. At the same moment the door opened and the maid came in. Then not one stirred; they remained quite still, although there was not a single pot among them that had not a high opinion of himself and of what he could do if he chose.

"'Yes, if we had chosen,' each of them thought, 'we might have spent a very pleasant evening.'

"The maid took the matches and lighted them, and dear me, how they spluttered and blazed up!

"'Now then,' they thought, 'every one will see that we are the first. How we shine! What a light we give!' But even while they spoke their lights went out."

"What a capital story!" said the queen. "I feel as if I were really in the kitchen and could see the matches. Yes, you shall marry our daughter."

"Certainly," said the king, "thou shalt have our daughter." The king said "thou" to him because he was going to be one of the family. The wedding day was fixed, and on the evening before, the whole city was illuminated. Cakes and sweetmeats were thrown among the people. The street boys stood on tiptoe and shouted "Hurrah," and whistled between their fingers. Altogether it was a very splendid affair.

"I will give them another treat," said the merchant's son. So he went and bought rockets and crackers and every kind of fireworks that could be thought of, packed them in his trunk, and flew up with it into the air. What a whizzing and popping they made as they went off! The Turks, when they saw the sight, jumped so high that their slippers flew about their ears. It was easy to believe after this that the princess was really going to marry a Turkish angel.

As soon as the merchant's son had come down to the wood after the fireworks, he thought, "I will go back into the town now and hear what they think of the entertainment." It was very natural that he should wish to know. And what strange things people did say, to be sure! Every one whom he questioned had a different tale to tell, though they all thought it very beautiful.

"I saw the Turkish angel myself," said one. "He had eyes like glittering stars and a head like foaming water."

"He flew in a mantle of fire," said another, "and lovely little cherubs peeped out from the folds."

He heard many more fine things about himself and that the next day he was to be married. After this he went back to the forest to rest himself in his trunk. It had disappeared! A spark from the fireworks which remained had set it on fire. It was burned to ashes. So the merchant's son could not fly any more, nor go to meet his bride. She stood all day on the roof, waiting for him, and most likely she is waiting there still, while he wanders through the world telling fairy tales—but none of them so amusing as the one he related about the matches.