er of the Danebrog. From the moment this purpose was
formed, twelve years ago, I have been desirous of obtaining this
portrait, and watching for the opportunity of possessing it again.

Here follows a detailed account of the circumstances of the painting of
the portrait and of its disappearance, with which we are familiar, and he
closes by saying:--

"This brief history will show you, my dear sir, what a boon you have
conferred upon me. Indeed, it seems like a dream, and if my most cordial
thanks, not merely for the _gift_, but for the graceful and generous
manner in which it has been offered, is any compensation, you may be sure
they are yours.

"These are no conventional words, but they come from a heart that can
gratefully appreciate the noble sentiments which have prompted your
generous act."

Returning from this little excursion into later years, I shall take up
the narrative again as revealed in the notebooks. While occasionally
visiting the opera and the theatre, Morse does not altogether approve of
them, and, on September 21, he indulges in the following reflections on
them and on the social evil:--

"No females of openly dissolute character were seen, such as occupy
particular parts of the theatre in England and America. Indeed, they
never appear on the streets of Rome in that unblushing manner as in
London, and even in New York and Philadelphia. It must not from hence be
inferred that vice is less frequent here than elsewhere; there is enough
of it, but it is carried on in secret; it is deeper and preys more on the
vitals of society than with us. This vice with us, like a humor on the
skin, deforms the surface, but here it infects the very heart; the whole
system is affected; it is rotten to the core.

"Theatres here and with us are different institutions. Here, where
thousands for want of thought, or rather matter for thought, would die of
ennui, where it is an object to escape from home and even from one's
self, the theatre serves the purpose of a momentary excitement. A new
piece, a new performer, furnishes matter for conversation and turns off
the mind from the discussion of points of theology or politics. The
theatre is therefore encouraged by the Government and is guarded against
the abuses of popular assemblage by strong military guards.

"But what have we to do with theatres in America? Have we not the whole
world of topics for discussion or conversation open to us? Is not truth
in religion, po