From Salt Lake City one travels over the great plains of Colorado and up the Rocky Mountains, on the top of which is Leadville, the richest city in the world.  It had also got the reputation of being the roughest, and every man carries a revolver.  I was told that if I went there they would be sure to shoot me or my traveling manager.  I wrote and told them that nothing that they could do to my traveling manager would intimidate me.  They are miners - men working in metals, so I lectured to them on the Ethics of Art.  I read them passages from the autobiography of Benvenuto Cellini and they seemed much delighted.  I was reproved by my hearers for not having brought him with me.  I explained that he had been dead for some little time which elicited the enquiry "Who shot him"?  They afterwards took me to a dancing saloon where I saw the only rational method of art criticism I have ever come across.  Over the piano was printed a notice:

PLEASE DO NOT SHOOT THE PIANIST.
HE IS DOING HIS BEST.

The mortality among pianists in that place is marvelous.  Then they asked me to supper, and having accepted, I had to descend a mine in a rickety bucket in which it was impossible to be graceful.  Having got into the heart of the mountain I had supper, the first course being whisky, the second whisky and the third whisky.

I went to the Theatre to lecture and I was informed that just before I went there two men had been seized for committing a murder, and in that theatre they had been brought on to the stage at eight o'clock in the evening, and then and there tried and executed before a crowded audience.  But I found these miners very charming and not at all rough.

Among the more elderly inhabitants of the South I found a melancholy tendency to date every event of importance by the late war.  "How beautiful the moon is tonight" I once remarked to a gentleman who was standing next to me.  "Yes" was his reply, "but you should have seen it before the war."

So infinitesimal did I find the knowledge of Art, west of the Rocky Mountains, that an art patron - one who in his day had been a miner - actually sued the railroad company for damages because the plaster cast of Venus of Milo, which he had imported from Paris, had been delivered minus the arms.  And, what is more surprising still, he gained his case and the damages.