Although the room is essentially a bookroom, there are other things than books to which one can turn for a momentary change of thought. In yonder corner, for instance, stands an easel, the picture upon which is constantly changed. To-day, it will be a water-color sketch by John Lewis; to-morrow, an etching by Albert Dürer or Seymour Haden; the next day, an oil painting by Elihu Vedder, or perhaps an ancient Egyptian funerary papyrus, with curious pen-and-ink vignettes of gods and genii surmounting the closely written columns of hieroglyphic text.
For, you see, I have no wall space in my library upon which to hang pictures; and yet, I am not happy, and my thoughts are not rightly in tune, unless I have a picture or two in sight, somewhere about the room. In the corners, hidden away behind pedestals and curtains, a quick eye may detect stacks of pictures, ready to be brought out and put on the easel when needed. On the pedestals stand plaster casts of busts from antique originals in the Louvre, the Uffizzi Gallery, and the British Museum; and yonder, beside the arched entrance between the ante-room and the library, stands a small white marble torso of a semi-recumbent river god which I picked up years ago from amid the dusty stores of a little curiosity-shop in one of the small by-streets near Soho Square. It is a splendid fragment, so powerfully and learnedly modelled, that no less a critic than the late Charles Blanc once suggested to me that it might be a trial-sketch by a pupil of Michael Angelo, or even by the master himself. Curiously enough, this little masterpiece, which has lost both arms from below the shoulders and both legs from above the knee, was wrecked before its completion; the face, the beard, the hair and the back being little more than blocked out, whereas, the forepart of the trunk is highly finished. On the opposite side of the archway, in an iron tripod, stands a large terra-cotta amphora found in the cellar of a Roman villa discovered in 1872, close behind the Baths of Caracalla.
As I happened to be spending that winter in Rome, I went, of course, to see the new "scavo," and there were the big jars standing in the cellar, just as in the lifetime of the ancient owner. I need scarcely say that I bought mine on the spot.