k again on these pictures by old Carpaccio; that he
has thought so much about her character that he really is influenced
greatly by it. And he goes on to say that some person who has perhaps
received a calm, kind letter from Mr. Ruskin instead of the curt,
brusque, or impatient one that he had looked for, on account of the
irascible nature of the writer, would be altogether surprised could he
know that the reason of the unexpected quietness was that Mr. Ruskin had
stopped to ask himself, 'What would St. Ursula say? What would St.
Ursula do?'"

"I think that is a pretty story about Mr. Ruskin, don't you?" she added,
turning to Malcom and the others.

"It is a pretty enough story," replied Malcom. "But I confess I do not
wish Madge always to stop and ask the mind of this leader of the 'eleven
thousand virgins.' Only consult your own dear self, my sister. You are
good enough as you are."

"I think it is the feminine quality in St. Ursula's ways of thought and
action that appeals so strongly to Mr. Ruskin's rugged nature," replied
Mr. Sumner, in answer to a rather appealing glance from Margery's eyes.
"The tale of a gentle life influences for good a somewhat embittered,
but grandly noble man. As to our little Madge," with a smile that drew
her at once close to him, "the best influence she can gain from the old
legend will grow out of the unwavering purpose of the saint, and her
inflexibility of action when once the motive was felt to be a noble one.
Her needs are not the same as are Mr. Ruskin's."

Margery slipped her hand into that of the uncle who so well understood
her, and gave it a tender little squeeze. As Mr. Sumner turned quickly
to call attention to one or two other pictures, with different subjects,
by Carpaccio, he caught for an instant the old-time sympathetic look in
Barbara's eyes, which gladdened his heart, and gave a new ring to his
voice.

"Here are two or three historical pictures by Carpaccio and Gentile
Bellini that put ancient Venice before our eyes, and, on this account,
are most interesting. Their color is fine, but in all other art
qualities they are weak."

"I must tell you," he went on, "about the Bellini brothers, Gentile and
Giovanni. Their father, who was also an artist, came from Padua to
Venice in the early part of the fifteenth century, bringing his two
young sons, both of whom grew to be greater painters than the father.
They opened a school, and Giorgione and Titian, who, you well kn