half believed among the mob. Even in superior circles his character was invested with a vague awe, partly rising like smoke-wreaths from the popular superstitions, but chiefly caused by the varied knowledge and talents which he made subservient to his profession.
Being on the eve of marriage, Walter Ludlow and Elinor were eager to obtain their portraits as the first of what, they doubtless hoped, would be a long series of family pictures. The day after the conversation above recorded they visited the painter’s rooms. A servant ushered them into an apartment where, though the artist himself was not visible, there were personages whom they could hardly forbear greeting with reverence. They knew, indeed, that the whole assembly were but pictures, yet felt it impossible to separate the idea of life and intellect from such striking counterfeits. Several of the portraits were known to them either as distinguished characters of the day or their private acquaintances. There was Governor Burnett, looking as if he had just received an undutiful communication from the House of Representatives and were inditing a most sharp response. Mr. Cooke hung beside the ruler whom he opposed, sturdy and somewhat puritanical, as befitted a popular leader. The ancient lady of Sir William Phipps eyed them from the wall in ruff and farthingale, an imperious old dame not unsuspected of witchcraft. John Winslow, then a very young man, wore the expression of warlike enterprise which long afterward made him a distinguished general. Their personal friends were recognized at a glance. In most of the pictures the whole mind and character were brought out on the countenance and concentrated into a single look; so that, to speak paradoxically, the originals hardly resembled themselves so strikingly as the portraits did.
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! Oh, 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.”
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, 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. “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 eye 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 for ever. 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
