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After that the Cat was not again asked to stand godfather. When the winter had come, and there was nothing more to be had out of doors, the Mouse began to think of their store.
“Come, Cat,” said she, “ we will fetch our pot of fat. How good it will taste, to be sure!”
“Of course it will," said the Cat; “ just as good as if you stuck your tongue out of the window."
So they set out, and when they reached the place they found the pot, but it was standing empty:
“Oh, now I know what it all meant!" cried the Mouse ; “now I see what sort of a partner you have been ! Instead of standing godfather, you have devoured it all up; first ‘Top-off,' then · Half-gone,' then"
“Will you hold your tongue ? " screamed the Cat. “ Another word and I'll devour you too !”
And the poor little Mouse having "All-gone" on her tongue, out it came ; and the Cat leaped on her, and made an end of her.
And that is the way of the world.
WHY BEANS HAVE A BLACK SEAM.
There lived in a certain village a poor old woman who had collected a mess of beans, and was going to cook them. So she made a fire on her hearth, and in order to make it burn better she put in a handful of straw. When the beans began to bubble in the pot, one of them fell out and lay, never noticed, near a Straw which was already there ; soon a red-hot Coal jumped out of the fire and joined the pair.
The Straw began first, and said-
The Coal answered, “I jumped out of the fire, by great good luck, or I should certainly have met my death ; I should have been burned to ashes."
The Bean said, “I too have come out with a whole skin ; but, if the old woman had kept me in the pot, I should have been cooked into a sost mess, like my comrades."
“Nor should I have met with a better fate," said the Straw. “ The old woman has turned my brothers into fire and smoke ; sixty of them she took up at once and deprived of life. Very luckily I managed to slip through her fingers."
“What had we better do now?” said the Coal.
“I think,” answered the Bean, “ that as we have been so lucky as to escape with our lives, we will join in goodfellowship together; and lest any more bad fortune should happen to us here, we will go abroad into foreign lands."
The proposal pleased the two others, and forth with they started on their travels. Soon they came to a little brook, and as there was no stepping-stone, and no bridge, they could not tell how they were to get across. The Straw was struck with a good idea, and said
“I will lay myself across, so that you can go over me as if I were a bridge.”
So the Straw stretched himself from one bank to the other, and the Coal, who was of an ardent nature, quickly trotted up to go over the new-made bridge. When, however, she reached the middle, and heard the water rushing past beneath her, she was struck with terror and stopped, and could get no further. So the Straw began to get burned, broke into two pieces, and fell into the brook; and the Coal slipped down, hissing as she touched the water, and gave up the ghost.
The Bean, who had prudently remained behind on the bank, could not help laughing at the sight; and not being able to contain herself, went on laughing so excessively that she burst. And now she would certainly have been undone forever, if a tailor on his travels had not by good luck stopped to rest himself by the brook. As he had a compassionate heart, he took out needle and thread, and stitched her together again.
The Bean thanked him in the most elegant manner; but as he had sewn her up with black thread, all beans since then have a black seam down their bellies.
GRIMM, HERMAN, a German critic and biographer, was born at Cassel, January 6, 1826. He is a son of the celebrated philologist Wilhelm Grimm. He was educated at Berlin and at Bonn; and from 1850 to 1853 he lived at Rome. In 1872 he became professor of the history of art at the University of Berlin. He is the founder of the review Ueber Kunstleben und Kunstwerke; and has written, besides a vast number of minor essays, Goethe in Italien (1850); Essays (1850-1875); Armin (1851); Demetrius (1854); Unüberwindliche Mächte (The Unconquerable Powers, 1859); Das Leben Michelangelo (1870): Das Leben Rafaels (1872); Funfzehn Essays (1874); Vorlesungen über Goethe (1877); and a collection of stories entitled Novellen. His most important work is generally considered to be his Life of Michelangelo, of which there is a fine translation by Miss Bunnett.
MICHELANGELO AS AN APPRENTICE.
One day, when the masters had gone away, he drew the scaffolding with all that belonged to it, and with those working on it, so perfectly correctly, that Domenico, when he saw the paper, exclaimed, full of astonishment : “He understands more than I do myself !” His progress soon appeared so great, that admiration was turned into envy. Grillandajo became anxious. That jealousy seized him which has appeared on too many similar occasions to excite surprise in this instance.
Michelangelo painted his first picture. From the constant intercourse of the Florentines with Germany, it was natural that German pictures and engravings should have reached Italy. A plate of Martin Schöngauer's, representing the temptation of St. An ny, was copied and painted by Michelangelo on an enlarged scale. This picture is said to be still extant in the gallery of the Bianconi family at Bologna. According to the report of others, it is in possession of the sculptor, M. de Triqueti, at Paris, without its being said how it came into his hands. Schöngauer's plate is wellknown. Considered as a composition, it is at all events his most important work, and is designed with an imagination which matches the wildest Netherland works of a similar kind. A band of distorted monsters have carried St. Antony into the air. We see nothing of the earth but a bit of rocky stone below, in the corner of the picture. Eight devils have taken the poor anchorite, and torment him. One pulls his hair ; a second pulls his garment in front; a third seizes the book hanging from a pocket buttoned to his girdle ; a fourth snatches the stick from his hand; a fifth helps the fourth ; the others pinch and teaze wherever there is space to seize him : and at the same time the strange rabble roll and turn him over, against him, and under him, in the most impossible writhings. The entire animal kingdom is ransacked to compose the figures. Claws, scales, horns, tails, talons—whatever belongs to animals—is exhibited in these eight devils. The fishy nature, however, predominates ; and, that he might not err here, Michelangelo eagerly studied the goods exposed to view in the fish-market. He thus accomplished an excellent picture. Grillandajo called it, however, one produced in his atelier ; or even named himself as the designer of it as he was authorized to do according to the custom of the time. On the other hand, however, Michelangelo now most plainly showed that he understood more than his master.–From Life of Michelangelo. Translated by FANNY E. BUNNÈTT.
GRISWOLD, RUFUS WILMOT, an American editor and critic, born at Benson, Rutland County, Vt., February 15, 1815; died in New York City, August 27, 1857. He learned the printing trade, at which he worked for some years; afterward he became a Baptist clergyman, and subsequently engaged in literary pursuits. At various times he edited periodicals in New York and Philadelphia. In 1841 he published a volume of Sermons, and an anonymous volume of Poems. He wrote the Curiosities of American Literature; prepared, in conjunction with W. G. Simms and others, Washington, and the Generals of the Revolution ; and, in conjunction with H. B. Wallace, Napoleon and the Marshals of the Empire. He undertook the editing of a Dictionary of Biography, but the publishers threw up the work after about one thousand large pages had been stereotyped; these were destroyed, and no part of the work was ever published. His latest work was The Republican Court : or, American Society in the Days of Washington (1854). He is best known by his various Collections, with Bi. ographical Sketches, all of which have been several times reprinted. These are: Poets and Poetry of America (1842); Prose Writers of America (1846); Female Poets of America (1849); Sacred Poets of England and America (1849); Poets and Poetry of England in the Nineteenth Century (1850).