Millheim Journal. [volume] (Millheim, Pa.) 1876-1984, 1883-06-28
A Painters Vengeance.

'eAlraVdSanG productions WHICH are uo"
exhibited at Brussels in the Museum
which bears his name.
Though his brush was generally oc-
cupied with classical subjects, or weird
allegorical designs such as the Con
test between Good and Evil" he occa-
sionally consented to paint portraits.
This was favor, however, which he
only accorded to those whose physiog-
nomy happened to interest him. 1t
may be added that his taste inclined
rather to the grotesque and eccentric
than the beautiful.
One day he received visit from a
certain NJ. van Spach, notary, who
had been seized with desire to have
his features perpetuated by the cele-
brated artist. NTaitre van Spach-a
dry, wrinkled, keen-eyed old gentleman,
with an expression of mingled shrewd-
ness and self-importance WAS one OF
the wealthieSt men in Brussels, and as
avaricious as he was rich; character
istic which had procured him the nick
name of "Maitre Harpagon.'
Wiertz was aware OF his visitor 9
failing; nevertheless he acceded to his
request without demur The fact was,
he had been conquered at first sight by
the old scrivener's picturesque head.
That head was a perfect treasure to an
artist, with its bald Uranium, wrinkled
forehead, shaggy brows oyerhanging
The small piercing eyes, hooked nose,
and thin-lipped mouth, which shut like
a trap. WeirtZ was fascinated, and
while his visitor was pompously ex-
planning his wishes, the artist was tax
ing mental note of every line and feat
ure.
"How much will the portrait cost :"
was the notarys cautious inquiry.
my terms are ten thousand francs,
monsieur" was the reply.
The lawyer started, stared incredu-
lousy, shrugged his shoulders, and
took up his hat.
"In that case" he answered dryly, Il
have only to wish you good morning"
Alarmed at the prospect of losing
this promising subject" whom he had
already in imagination transferred to
canvas, Wiertz fastened to add:
"TEose are my usual terms; but as
your face interests me, l am willing to
make a reduction in your favor. Sup
pose we say five thousand?'
But N. van Spach still objected, urg
eng that such a sum was eXorbitant for
ga strip of painted canvas"
At length, after much bargaining
and hesitation he agreed to pay three
thousand francs for the portrait
"frame included" and this being set
tied, he rose to take leave.
when am / to give you the first sit
ting?" he inquired.
"There is no hurry" replied the art
tist. who had his own intentions re-
garding this portrait. 81 am somewhat
occupied just now, but will let you
know when l have morning at iber-
ty. Au revoir !"
The moment his visitor had left the
studio Wiertz seized palette and
brushes, placed fresh canvas on his
easel, and dashed in the outline of the
portrait from memory. He painted as
if for a wager, while the summer day
light lasted; and, thanks to his marvel
GUS rapidity of execution, when eve
ming came the picture was all but fin
ished.
He had represented the old notary
seated at a table, strewn with papers
and parchments, his full face turned
toward the spectator. The head was
brought out in mastery relief against
shadowed BACKGROUND, and painted in
the artists best style; bold, free and un-
conventional, showing no signs of its
hurried execution. The likeness was
striking in it's fidelity, giving not only
the features, but the character and ex-
preston of the original, so that the
canvas, seemed instinct with life.
The following morning Weirtz gave
the finishing touches to his work, put
it in frame, and dispatched it to Van
Spach; instructing the messenger to
Wait for an answer.
He rubbed his hands with pleasure
as ne pictured the old gentleman's de
light and astonishment, and anticipat-
ed the sensation which this tour de
force would create in artistic circles.
In due time the messenger returned
with the picture in one hand and a
.pese IN the other. Wiertz hastily dis