The Rock Island Argus. (Rock Island, Ill.) 1877-1885, 1883-07-20
A PAINTERS VENGEANCE.

D6dTS. MS ildlnt-
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 on
ly accorded to those whose physiogno-
my happened to interest him. Ii may
be added that his taste inclined rather
to the grotesque and eccentric than the
beautiful.
One day he received a visit from a
certain M. van Spach, notary, who
had been seized with the desire to have his
features perpetuated by the celebrated
artist. Maitre van Spach-a dry, wrin.
kled, keen-eyed old gentleman, with AZ
expression of mingled shrewdness and
self-importance- one of the wealth
lest men in Brussels, and as avaricious
as he was rich characteristic which
procured him the nickname of ''Maitre
Harpagon.
WiertZ was aware of his visitors fail
ing; nevertheless he acceded to his re.
quest without a murmu The fact was
he had been conquered ut first sight 10y
the scrivener' ;. picturesque head. The
head was perfect treasure to alt artis..
with its bald Uranium, wrinkled fore
head, shaggy brows oyerhanging the
small, piercing eyes, hooked nose ant
thin-lipped mouth, which shut like {
trap Wiertz was fascinated, and
while his visitor was pompously explain
ing his wishes, the artist had taken men
tai notes of every line and feature.
How much will the portrait cost?'
was the notary's cautious inquiry.
My terms are 10000 francs, mon
sienr, was the reply
The lawyer started, stared incredu
lousy, shrugged his shoulders and tool
up his hat. I'm that case" he answer
ed, dryly, Il have only to wish yor
good morning"
Alarmed at the prospect of losing hi,
promising subject, whom. he had al
ready in Imagination transferred to the
| canvas, Wiertz FASTENED to add: Those
are my usual terms, but as your face in
terests me am willing TO make reduc
ton in your favor. Suppose we say
| SCOOP"
But NJ. van Spach still objected, urg
ing that such sum was exorbitant foI
a ''strip Of painted canvas.
At length, after much bargaining ant
hesitation, he agreed to pay B, 600 franc
for the portrait frame included, and
this being settled, he rose TO take hi
| leave
when am to give you the first sit
ting?' he inquired
There is no hurry replied the art
ist, who had his own intentions regard
ing this portrait, i am somewhat oc
cIipied at present. but will let You know
| when | have a morning at liberty. Al
revoiT.
The moment his visitor had left tht
studio Wiertz seized palette and brush
es. and placed a fresh canvas on thu
easel, and dashed in the outlines of tn
portrait from memory. He painted &
if for a wager while the summer day
light lasted; and, thanks to his marvel
Gus rapidity of execution, when evenin
came the picture was all but finished.
He had represented the old notar
seated at table .strewn with paper
and parchments, his full face turned
toward the spectator. The. head wa
brought out in mastery relief against
Swallowed background, and painted i
the.artist's best style; bold, free and III
conventional, showing no signs of il
hurried execution. The likeness wa
striking in its fidelity and expression
the original, so that the canvas SCENE
instinct with life,
The following morning Wiertz CAV
the finishing touches to his work, put
in frame and dispatched it to Va
Spach, instructing the messenger
wait for an answer.
He rubbed his hands with pleasure 8
he pictured the old gentleman's deEgl
and establishment, and anticipated tt
sensation which this tour de force woul
create in artistic circles.
In due time the messenger returne
with the picture in one hand and a not
in the other Wiertz hastily dismisse
him, opened the letter and read as fo
lows:
Sir: beg leave TO return your extraordi
| airy production, which / cannot suppose is i
tended for my portrait, as it bears no sort
: | Resemblance to me.
In art, as in everything else, like to have n
| moneys worth for my money, and do n
choose to pay you the sum OF 1900 francs +
| one afternoons work As you do not cOns-i
me worth the trouble of painting seriously,
must decline any further transactions with 20
Peter Van Spach
When the artist recovered from h
astonishm5nt at this remarkable epistl
he burst into fit of laughter whiC
made the studio ring.
His money worth--ha, ha. Matt
Harpagon has overreached himself fl
once. He could have sold it for fl
times what it cost him, the benight,
old Philistine.
He placed the rejected picture on
e. more on the easel and regarded it lol
and critically. He knew that art jud
es would pronounce it a chef d'euVr
His amusement began to give place
irritation at the iDdignity to which /
work had been subjected, and vag
projects of vengeance rose before hi
as he paced the floor with bent he,
and knitted brow.
Suddenly he stopped short,
eyes sparkling with mischieyous 81
isfaction at an idea which had sudden
occurred to him. He took up his pallet
and set TO work upon the picture agai
.adroitly altering and retouching.
In an incredibly short space of til
it underwent startling metamorpl
sis. While carefully preserving t
likeness. he had altered the face by {
Il aggerating toe characteristics, givil
cunning leer to the deeply-set eyes,
grimmer curve to the thin lips and
soowl to the heavy brows, A stub
i beard appeared on the chin and the
y titude became dropping and decrepit.
Then the notary accessories wants
ed, the background becoming the W
of cell, with barred window, VIII
the table. with its litter of papers a
. parchments, was transformed into
rough bench, beneath which might
diseerned a pitcher and loaf.
When this was achieved to his sal
faction, the artist signed his work a