The bust had been sent to William Story's studio to be cleaned,
and thither we all proceeded in the best possible spirits.
We found a photographer named Giovanni Braccia on the floor a
_piano_ above Mr. Story; and after a lengthy discussion with him, in
which Mr. Longfellow was the leading figure, he agreed to take the
photographs at two napoleons a dozen. [Footnote: These pictures proved to
be fine reproductions, and are still to be met with in Boston and
Cambridge parlors.] When the bust was brought in Mr. Longfellow called my
attention to the incisions representing pupils in the eyes, which he said
were a late introduction in sculpture, and not generally considered an
improvement. After this Mr. Appleton called to us to come with him to the
studio of an English painter in the same building, whose name I cannot
now recollect. He was the type of a graceful, animated young artist, and
had just finished a painting representing ancient youths and maidens in a
procession with the light coming from the further side, so that their
faces were mostly in shadow, with bright line along the profile,--an
effect which it requires skill to render.
On returning to the street we looked into Mr. Story's outer room again,
where the casts of all his statues were seated in a double row like
persons at a theatre.
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