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Two months later I was walking up the Rue Richelieu, when some one, close beside me and a little behind, asked me in Hungarian if I was a Magyar. I turned quickly to answer no, surprised at being thus addressed, and beheld the disabled circus-rider. It flashed upon me, the moment I saw his face, that I had seen him in Turin three years before. My surprise at the sudden identification of the gymnast was construed by him into vexation at being spoken to by a stranger. He began to apologize for stopping me, and was moving away, when I asked him about the accident, remarking that I was present on the evening of his misfortune. My next question, put in order to detain him, was:

“Why did you ask if I was a Hungarian?”

“Because you wear a Hungarian hat,” was the reply.

This was true. I happened to have on a little round, soft felt hat, which I had purchased in Buda Pesth.

“Well, but what if I were Hungarian?”

“Nothing; only I was lonely and wanted company, and you looked as if I had seen you somewhere before. You are an artist, are you not?”

I said I was, and asked him how he guessed it.

“I can’t explain how it is,” he said, “but I always know them. Are you doing anything?”

“No,” I replied.

“Perhaps I may get you something to do,” he suggested. “What is your line?”

“Figures,” I answered, unable to divine how he thought he could assist me.

This reply seemed to puzzle him a little, and he continued:

“Do you ride or do the trapeze?”

It was my turn now to look dazed, and it might easily have been gathered, from my expression, that I was not flattered at being taken for a saw-dust artist. However, as he apparently did not notice any change in my face, I explained without further remark that I was a painter. The explanation did not seem to disturb him any; he was evidently acquainted with the profession, and looked upon it as kindred to his own.

As we walked along through the great open quadrangle of the Tuileries, I had an opportunity of studying his general appearance. He was neatly dressed, and, though pale, was apparently in good health. Notwithstanding a painful limp his carriage was erect, and his movements denoted great physical strength. On the bridge over the Seine we paused for a moment and leaned on the parapet, and thus, for the first time, stood nearly face to face. He looked earnestly at me a moment without speaking, and then, shouting “Torino” so loudly and earnestly as to attract the gaze of all the passers, he seized me by the hand, and continued to shake it and repeat “Torino” over and over again.

This word cleared up my befogged memory like magic. There was no longer any mystery about the man before me. The impulse which now drew us together was only the unconscious souvenir of an earlier acquaintance, for we had met before. With the vision of the Italian city, which came distinctly to my eyes at that moment, came also to my mind every detail of an incident which had long since passed entirely from my thoughts.

It was during the Turin carnival, in 1875, that I happened to stop over for a day and a night, on my way down from Paris to Venice. The festival was uncommonly dreary, for the air was chilly, the sky gray and gloomy, and there was a total lack of spontaneity in the popular spirit. The gaudy decorations of the Piazza and the Corso, the numberless shows and booths, and the brilliant costumes, could not make it appear a season of jollity and mirth, for the note of discord in the hearts of the people was much too strong. King Carnival’s might was on the wane, and neither the influence of the Church nor the encouragement of the State was able to bolster up the superannuated monarch. There was no communicativeness in even what little fun there was going, and the day was a long and a tedious one. As I was strolling around in rather a melancholy mood, just at the close of the cavalcade, I saw the flaming posters of a circus, and knew my day was saved, for I had a great fondness for the ring. An hour later I was seated in the cheerfully lighted amphitheatre, and the old performance of the trained stallions was going on as I had seen it a hundred times before. At last the “Celebrated Cypriot Brothers, the Universal Bareback Riders,” came tripping gracefully into the ring, sprang lightly upon two black horses, and were off around the narrow circle like the wind, now together, now apart, performing all the while marvellous feats of strength and skill. It required no study to discover that there was no relationship between the two performers. One of them was a heavy, gross, dark-skinned man, with the careless bearing of one who had been nursed in a circus. The other was a small, fair-haired youth of nineteen or twenty years, with limbs as straight and as shapely as the Narcissus, and with joints like the wiry-limbed fauns. His head was round, and his face of a type which would never be called beautiful, although it was strong in feature and attractive in expression. His eyes were small and twinkling, his eyebrows heavy, and his mouth had a peculiar proud curl in it which was never disturbed by the tame smile of the practised performer. He was evidently a foreigner. He went through his acts with wonderful readiness and with slight effort, and, while apparently enjoying keenly the exhilaration of applause, he showed no trace of the blase bearing of the old stager. In nearly every act that followed he took a prominent part. On the trapeze, somersaulting over horses placed side by side, grouping with his so-called brother and a small lad, he did his full share of the work, and when the programme was ended he came among the audience to sell photographs while the lottery was being drawn.