reflected in your own portrait, if you have no secret cause to trust
my delineation of the other--it is not yet too late to alter them. I
might change the action of these figures too. But would it influence
the event?" He directed her notice to the sketch.

A thrill ran through Elinor's frame; a shriek was upon her lips, but
she stifled it with the self-command that becomes habitual to all who
hide thoughts of fear and anguish within their bosoms. Turning from
the table, she perceived that Walter had advanced near enough to have
seen the sketch, though she could not determine whether it had caught
his eye.

"We will not have the pictures altered," said she, hastily. "If mine
is sad, I shall but look the gayer for the contrast."

"Be it so," answered the painter, bowing. "May your griefs be such
fanciful ones that only your pictures may mourn for them! For your
joys, may they be true and deep, and paint themselves upon this lovely
face till it quite belie my art!"

After the marriage of Walter and Elinor the pictures formed the two
most splendid ornaments of their abode. They hung side by side,
separated by a narrow panel, appearing to eye each other constantly,
yet always returning the gaze of the spectator. Travelled gentlemen
who professed a knowledge of such subjects reckoned these among the
most admirable specimens of modern portraiture, while common observers
compared them with the originals, feature by feature, and were
rapturous in praise of the likeness. But it was on a third
class--neither travelled connoisseurs nor common observers, but people
of natural sensibility--that the pictures wrought their strongest