East Saginaw courier. (East Saginaw, Mich.) 1859-18??, 1859-12-15

anu otiVNI W lINl ntsttS utl-~-Ai fNn VI
10 use; anil she used 70 say, az ths end of
every such conversation, tint size wished
the portrait was finished, and thai she
could 40 more help disliking hiln thar
than she could help loving me. So our
arguments always ended with kiss.
But this portrait took long time. Van
Reos was in general a rapid painter; yet
(trude's likeness progressed at a very
Nv pace, and, like Penelope's web,
seemed never TO be completed, One
morning l happened to be in The room--
a rare event az that time, for | was hard
at work upoa my new landscape; and |
was struck by the change that had come
over my late master, lie seemed TO be
no logger the same man. There was
a light in his eye, and a vibration in his
voice, that l had never observed before;
and when he arose to take leave, there
a studied courtesy in his bow aud manner
that took me quite by surprise,
Still, l never suspected the truth, and
the portrait was as far % ever from being
finished.
1t all came ont at last; and one morn
ing Hans Van Roos made formal offer
Of his hand and heart Of course he was
Immediately refused.
But as kindly as was possible, dear
Franz, she said, when she told me in the
evening; because he is your friend, and
because he seemed to feel it so deeply -
And---and you don't know how dreadful
ly white he turned, and how he tIied to
restrain his tears. piticd him Franz;
and, indeed, | was very sorry And the
gentle creature could scarcely keep from
weeping herself as she told me,
l did not see Van Roos for some
months after this disclosure; at last met
him accidentally one morning in front Of
the stadt-house, and, to my surprise, for
the second time in his life, he held out
his hand
n good day to you, Messcr Linden,
said he. Il hear that you are on the
high road to fame and fortune
i have been very prosperous, Messer
Van Roos, | replied, taking the proilered
hand-'more prosperous, perhaps, than
my merits deserve. never forget that
l owe my present proficiency to the
hours spent in your atelier
a peculiar expression fitted over his
face.
IF thought that said he hastily, Il
Il should esteem myself particularly
happy
There was so odd a difference in the
the way in which he uttered the begin.
ming and eul of this sentence--so much
hurry and passion in the first half, such
deliberate politeness in the last, that
started and looked him full in the face
he was as smiling and impenetrable as q
marble statue.
Il, too, have been fortunate, he said
after moments pause. Have you seen
the new church lately built near the east
end of the Ilaring-vliet"
| replied that / had observed it in
passing, but had not been inside.
Il have been entrusted, he said, 'witf
the superntendenceo of the interior decora
tons. My Conversion of st. Paul i:
purchased for the altar-piecc, and an
now engaged in painting a series o.
frescoes upon the ceiling. VIII yor
come in one day and give Inc your opinion
upon themn
l protested myself much fattered anC
appointed to visit him in the church OF
the following morning. He was waiting
for me at the door when l arrived, witt
the heavy keys in his hand. We passed
IN, and he turned the key in the lock-
Il always secure myself against intru
ders, he said smiling. people will com
into the church if leave the doors un
fastened; and do not choose to carry OF
my art, like sign-painter, in the pres
euce Of every blockhead who chooses t.
stand and stare at me-.
1t was surprising in what disagree
able manner this man showed his teetI
when he smiled.
The church was decidedly handsom
building, built in the Italian style whicl
inmates the antique, aud prefers grac
and magniiccnce to the dignified sancti
ty of the Gothic order. A row of Gle
giant Corinthian columns supported tn
roof at each side of the nave; gliding
and decorative cornices were lavished il
every direction; the gorgeous alter-picc
already occupied its appointed station
and little to the left of the rallied spac
where the communicable was to b
placed, a lofty scaholding was erected
that seemed, from where [ stood, almos
10 come in contact with the roof, an
above which / observed the yet un6nishe
sketch of mastery fresco. Three o
four more, already completed, were sta
toned at regular intervals, and som
others were merely outlined in charooa
upon their intended site.
'Will you not come up with me?' aske
the painter when had expressed my &C
miration sufficiently; cor are you afrai
Of turning giddyY
/ felt somewhat disinclined to impos
this trial on my nerves, but still NOR
disinclined to confess it; so / followed hir
up from flight to fight of the frnil struc
ture without once daring to look down.
At last we rachel the summit. AS
had supposed, there was not even ROOF
enough for the artist to assume a sittn
posture, and he had to paint while lyin
on bis back. had no fancy to exten
myself on this lofty couch; so only LITE
my head above the level Of his flooring
looked at the freseo, and descended imm