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 younger ones, who had known only the severely ascetic life and cold personality of the celebrated scholar, found it difficult to connect him with such a father. In their talk they brought to mind the man himself, his queer shabby clothes, his big stooping frame, his sad black eyes, absent almost to vacancy as though always fixed on high and distant thoughts; and those who had lived near him told laughing stories about the crude and countrified simplicity of his old aunt's housekeeping—it was said that the president of Harvard had been invited to join them once in a Sunday evening meal of crackers and milk—but the general tenor of feeling was, as it had been during his life, of pride in his great fame and in the celebrated people who had come to see him.

This pride warmed into something like affection when, the day after his death, came the tidings that he had bequeathed to his college the Gino Sprague Fallères portrait of himself. Of course, at that time, no one in Middletown had seen the picture, for the philosopher's sudden death had occurred, very dramatically, actually during the last sitting. He had, in fact, had barely one glimpse of it himself, as, according to Fallères's invariable rule, no one, not even the subject of the portrait, had been allowed to examine an unfinished piece of work. But, though Middletown had no first-hand knowledge of the picture, there could be no doubt about the value of the canvas. As soon as it was put on exhibition in London, from every art-critic in the three nations who claimed Fallères for their own there rose a wail that this masterpiece was to be buried in an unknown college in an obscure village in barbarous America. It was confidently stated that it would be saved from such an unfitting