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Among these modern worthies, there were two old bearded Saints, who had almost vanished into the darkening canvas. There was also a pale, but unfaded Madonna, who had perhaps been worshipped in Rome, and now regarded the lovers with such a mild and holy look, that they longed to worship too.

"How singular a thought," observed Walter Ludlow," that this beautiful face has been beautiful for above two hundred years! O, if all beauty would endure so well! Do you not envy her, Elinor?"

"If earth were Heaven, I might," she replied. "But where all things fade, how miserable to be the one that could not fade!"

"This dark old St. Peter has a fierce and ugly scowl, saint though he be," continued Walter. "He troubles me. But the Virgin looks kindly at us."


Yes; but very sorrowfully, methinks," said Elinor.

The easel stood beneath these three old pictures, sustaining one that had been recently commenced. After a little inspection they began to recognize the features of their own minister, the Rev. Dr. Colman, growing into shape and life, as it were, out of a cloud.

"Kind old man!" exclaimed Elinor. "He gazes at me as if he were about to utter a word of paternal advice."

"And at me," said Walter, "as if he were about to shake his head and rebuke me for some suspected iniquity. But so does the original. I shall never feel quite comfortable under his eye till we stand before him to be married."

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They now heard a footstep on the floor, and turning, beheld the painter, who had been some moments in the room, and had listened to a few of their remarks. He was a middle-aged man, with a countenance well worthy of his own pencil. Indeed, by the picturesque, though careless arrangement of his rich dress, and, perhaps, because his soul dwelt always among painted shapes, he looked somewhat like a portrait himself. His visitors were sensible of a kindred between the artist and his works, and felt as if one of the pictures had stepped from the canvas to salute them.

Walter Ludlow, who was slightly known to the painter, explained the object of their visit. While he spoke, a sunbeam was falling athwart his figure and Elinor's, with so happy an effect, that they also seemed living pictures of youth and beauty, gladdened by bright fortune. The artist was evidently struck.

"My easel is occupied for several ensuing days, and my stay in Boston must be brief," said he, thoughtfully; then, after an observant glance, he added: "but your wishes shall be gratified, though I disappoint the Chief Justice and Madame Oliver. I must not lose this opportunity, for the sake of painting a few ells of broadcloth and brocade."

The painter expressed a desire to introduce both their portraits into one picture, and represent them engaged in some appropriate action. This plan would have delighted the lovers, but was necessarily rejected, because so large a space of canvas would have been unfit for the room which it was intended to decorate. Two half-length portraits were therefore fixed upon. After they had taken leave, Walter Ludlow asked Elinor, with a smile,

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whether she knew what an influence over their fates the painter was about to acquire.

"The old women of Boston affirm," continued he, "that after he has once got possession of a person's face and figure, he may paint him in any act or situation whatever, - and the picture will be prophetic. Do you believe it?"

"Not quite," said Elinor, smiling. 66 Yet, if he has such magic, there is something so gentle in his manner that I am sure he will use it well."

It was the painter's choice to proceed with both the portraits at the same time, assigning as a reason, in the mystical language which he sometimes used, that the faces threw light upon each other. Accordingly, he gave now a touch to Walter, and now to Elinor, and the features of one and the other began to start forth so vividly that it appeared as if his triumphant art would actually disengage them from the canvas. Amid the rich light and deep shade, they beheld their phantom selves. But, though the likeness promised to be perfect, they were not quite satisfied with the expression; it seemed more vague than in most of the painter's works. He, however, was satisfied with the prospect of success, and being much interested in the lovers, employed his leisure moments, unknown to them, in making a crayon sketch of their two figures. During their sittings he engaged them in conversation, and kindled up their faces with characteristic traits, which, though continually varying, it was his purpose to combine and fix. At length he announced, that at their next visit both the portraits would be ready for delivery.


If my pencil will but be true to my conception, in the few last touches which I meditate,"

observed he, "these two pictures will be my very best performances. Seldom, indeed, has an artist such subjects."

While speaking he still bent his penetrative eve upon them, nor withdrew it till they had reached the bottom of the stairs.

Nothing, in the whole circle of human vanities takes stronger hold of the imagination than this affair of having a portrait painted. Yet why should it be so? The looking-glass, the polished globes of the andirons, the mirror-like water, and all other reflecting surfaces, continually present us with portraits, or rather ghosts, of ourselves, which we glance at and straightway forget them. But we forget them only because they vanish. It is the idea of duration, of earthly immortality, — that gives such a mysterious interest to our own portraits. Walter and Elinor were not insensible to this feeling, and hastened to the painter's room, punctually at the appointed hour, to meet those pictured shapes which were to be their representatives with posterity. The sunshine flashed after them into the apartment, but left it somewhat gloomy as they closed the door.

Their eyes were immediately attracted to their portraits, which rested against the farthest wall of the room. At the first glance, through the dim light and the distance, seeing themselves in precisely their natural attitudes, and with all the air that they recognized so well, they uttered a simultaneous exclamation of delight.

"There we stand," cried Walter, enthusiastically, "fixed in sunshine forever! No dark passions can gather on our faces!"

"No," said Elinor, more calmly; "no dreary change can sadden us."

This was said while they were approaching, and had yet gained only an imperfect view of the pictures. The painter, after saluting them, busied himself at a table in completing a crayon sketch, leaving his visitors to form their own judgment as to his perfected labors. At intervals, he sent a glance from beneath his deep eyebrows, watching their countenances in profile, with his pencil suspended over, the sketch. They had now stood some moments, each in front of the other's picture, contemplating it with entranced attention, but without uttering a word. At length, Walter stepped forward, - then back, — viewing Elinor's portrait in various lights, and finally spoke.

"Is there not a change?" said he, in a doubtful and meditative tone. "Yes; the perception of it grows more vivid the longer I look. It is certainly the same picture that I saw yesterday; the dress,- the features, - all are the same; and yet something is altered."


Is, then, the picture less like than it was yesterday?" inquired the painter, now drawing near, with irrepressible interest.


"The features are perfect, Elinor," answered Walter; and, at the first glance, the expression seemed also hers. But I could fancy that the portrait has changed countenance, while I have been looking at it. The eyes are fixed on mine with a strangely sad and anxious expression. Nay, it is grief and terror! Is this like Elinor?" Compare the living face with the pictured one," said the painter.


Walter glanced sidelong at his mistress, and started. Motionless and absorbed — fascinated, as it were in contemplation of Walter's portrait,

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