earth would induce me to sit to him i there was a chorus of oh because � he makes people look so horrid the way one looks on board ship or early in the morning or when one s hair is out of curl and one knows it i d much rather be done by mr little the fashionable of his moustache to hide a is a genius � that we must all admit he said as though a friend s weakness but he has an unfortunate temperament he has been denied the gift � so precious to an artist � of perceiving the ideal he sees only the defects of his one might almost fancy that he takes a morbid pleasure in their weak points in painting them on their worst days but i honestly believe he can t help himself his peculiar prevent his the portrait seeing anything but the most side of human nature � a the brim a w to him and it is nothing more looked round to surprise an order in the eye of the lady whose sentiments he had so interpreted but poetry always made her uncomfortable and her attention had strayed to other topics his glance was tripped up by mrs but my dear man it s because he hasn t any because he doesn t wear the portrait painter s conventional that we re all so afraid of being painted by him it s not because he sees only one aspect of his it s because he the real the typical one as instinctively as a a pick pocket in a crowd if there s nothing to paint � no real person he nothing look at the of his portrait of mrs � why the pretty woman that s the only nice picture he ever did if there s one positive trait in a negative whole he brings it out in spite of himself if it is n t a nice trait so much the worse for the it is n t s fault he s no more to blame than a mirror your other do the surface � he does the depths they paint the on the pond he the portrait tbe bottom he makes seem as as clothes i look at his portraits of fine ladies in pearls and velvet i seem to see a little naked of a soul sitting beside the big splendid body like a poor relation in the darkest corner of an opera box but look at his pictures of really great people � how great are there a plenty of ideal there take his professor how clearly the man s history is written in those broad steady strokes of the brush the hard work the endless patience the fearless imagination of the great or the picture of mr � the man who has felt beauty without having the power to create it the very brush work expresses the difference between the two the crowding of nervous lines the of color somehow convey a suggestion of you feel what a delicate instrument the man is how every sense has been to the finest mrs paused blushing a little at the echo of her own eloquence my advice is don t let george paint you if you don t want to he found out � or to find yourself out that s why i ve never let him do mr i m waiting for the day of judgment she ended with a laugh every one but the pretty woman whose eyes betrayed a quivering impatience to discuss clothes had listened attentively to mrs s presence in new york � he had come over from paris for the t i the portrait first time in twelve years to arrange the exhibition of his pictures � gave to the analysis of his methods as personal a flavor as though one had been his domestic relations the indeed is not for in s curiously detached existence it is difficult to figure any closer tie than that which him to his pictures in this light mrs a flushed seemed not to the of the tea hour and some one almost at once carried on the argument by saying � but according to your that the significance of his work depends on the significance of the � his portrait of ought to be a master piece and it s his biggest fail s suicide � he killed himself strangely enough the day that s pictures were first shown � had made his portrait the chief feature of the exhibition it had been painted ten or twelve years earlier when the terrible was at the height of his power and if ever man presented a type to such insight as s that man was yet the portrait was a failure it was composed the was dazzling but the face had been � well it was as might liave painted him � a common man trying to look at ease in a good coat the picture had never before been exhibited and there was a general of the portrait isn t only the critics and the � ment it m grumbled even the big public which had and shuddered at in his genial and in his death that to divine wrath which as a spectacle is next best to its successful even the public felt itself what had the painter done with their hero where was the big face that figured so in political and patent medicine on cigar boxes and they had admired the man for looking his part su boldly for showing the in every line of his coarse body and cruel face the � gentleman of s picture was a poor thing compared to the real it had been vaguely expected that the great s portrait would have the zest of an document the scandalous attraction of secret and instead it was as as an it was as though the 