Spirit of the age. [volume] (Woodstock, Vt.) 1845-1913, 1883-06-20
A Painters Vengeance.

the artistic world by the powerful but
eXtravagant productions which are now
exhibited at Brussels in the Museum
which bears his name.
Though his brush was generally oc-
cupied with classical subjects, or weird
allegorcal 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 a desire to have
his features perpetuated by the cele-
brated artist. Maitre 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 visitors
| failing; nevertheless he aCceded to his
request without demur. The fact was,
he had been conquered at first sight by
the old scriveners picturesque head.
That head was perfect treasure to an
artist, with its bald cranlum wrinkled
forehead, shaggy brows oyerhanging
the small piercing eyes, hooked nose,
and thin-lipped mouth, which shut like
trap. VERT 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.
"llow 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, 81
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 hastened to add:
"Those are my usual terms; but as
your face interests me, AIN willing to
make reduction in your favor. Sup
pose we say five thousand:"
But NJ van Spach still objected, urg-
eng that such sum was eXOrbitant for
"a 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. liam somewhat
occupied just now, but will let yoa
know when | have a morning at liDer-
ty. Au reyoir "
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 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 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 artist best style; bold, free and un-
conventional, showing no signs of its
hurried execution. The likeness was
striking in its 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
1t in a frame, and dispatched it to Van
Spach; instructing the messenger to
wait for an answer.
He rubbed his hands with pleasure
as he 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
note in the other. Wiertz hastily dis
missed him, opened the letter, and read
as follows
"Sir-I beg to return your extraordi-
nary production, which cannot sup
pose is intended for my portrait, as it
bears no resemblance to me. In art, as
in everything else, l like to have my
moneys worth for my money, and do
not choose to pay you the sum of three
thousand francs for one afternoons