WHEN DONE WITH HIM, COOLLY SET UPON ROBINSON. THE INSTANT ONE TRIBE DEPARTED, A FRESH RELAIS ARRIVED, SO THAT THERE WAS A CONSTANT SUPPLY (OF BEGGARS) AND DEMAND (ON OUR PURSES).

   NO PLACE SEEMED SAFE: IN THE MOST MAGNIFICENT AND LUXURIOUSLY-DECORATED CAFÉS THEY HAD PERFECT RIGHT OF WAY, THE CONTRAST BETWEEN THE RICH GILDING, GLASS, FOUNTAINS, ETC., OF THE ONE, AND THE RAGS, DIRT, AND DRAMATICALLY GOT-UP HORRORS OF THE OTHER BEING PICTURESQUE, BUT CERTAINLY NOT PLEASANT; AND YET, AS JONES REMARKED, THEY SAY THIS COUNTRY HAS NOT FREE INSTITUTIONS.

     VERONA.

   THE AMPHITHEATRE, VERONA.

   JONES ASKS ROBINSON, WHETHER HE “SEES BEFORE HIM THE GLADIATOR DIE?” BUT ROBINSON MAINTAINS A DIGNIFIED SILENCE.

   AUSTRIAN DETECTIVE STOPS BROWN TO EXAMINE HIS SKETCHING STOOL. IT PUZZLES HIM. THERE IS AN AIR OF MYSTERY ABOUT IT. IT MIGHT POSSIBLY BE A WEAPON TO BE USED FOR POLITICAL PURPOSES, OR AN INFERNAL MACHINE! WHO KNOWS? ON THE WHOLE, HE THINKS HE HAD BETTER DETAIN IT.

   SCENE—DISCOVERS BROWN SKETCHING.

   ENTER THE AUSTRIAN ARMY. THEY ADVANCE UPON HIM, THEY THINK HE IS TAKING THE FORTIFICATIONS.

   ROBINSON, WHO IS MUCH GIVEN TO QUOTATION, IS, AT THE VERY MOMENT, LANGUIDLY RECITING THE LINES:—

    "AM I IN ITALY? IS THIS THE MINCIUS?

    AND THOSE THE DISTANT TURRETS OF VERONA?

    AND SHALL I SUP WHERE JULIET AT THE MASQUE

    SAW HER LOVED MONTAGUE?" —ETC., ETC.

   NOT BEING FAMILIAR WITH THE GERMAN, OR THE CROATIAN LANGUAGE, BROWN IS HELPLESS. HE PROTESTS HIS INNOCENCE, BUT THE MILITARY DON’T UNDERSTAND HIM. THEY SEE TREASON IN HIS HAT, WHICH IS OF AN ILLEGAL SHAPE, AND THEY ARREST HIM.

   JONES AND ROBINSON APPEAR, TO THE SURPRISE OF THE MILITARY, AND RELIEF OF BROWN.

   BROWN, QUITE RESIGNED, WALKS QUIETLY TO MEET HIS FATE. JONES PLUNGES VIOLENTLY, BUT IS FINALLY OVERCOME. ROBINSON RESISTS PASSIVELY, AND IS ACCORDINGLY DRAGGED ALONG.

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