effect. Such persons might gaze carelessly at first, but, becoming
interested, would return day after day and study these painted faces
like the pages of a mystic volume. Walter Ludlow's portrait attracted
their earliest notice. In the absence of himself and his bride they
sometimes disputed as to the expression which the painter had intended
to throw upon the features, all agreeing that there was a look of
earnest import, though no two explained it alike. There was less
diversity of opinion in regard to Elinor's picture. They differed,
indeed, in their attempts to estimate the nature and depth of the
gloom that dwelt upon her face, but agreed that it was gloom and alien
from the natural temperament of their youthful friend. A certain
fanciful person announced as the result of much scrutiny that both
these pictures were parts of one design, and that the melancholy
strength of feeling in Elinor's countenance bore reference to the more
vivid emotion--or, as he termed it, the wild passion--in that of
Walter. Though unskilled in the art, he even began a sketch in which
the action of the two figures was to correspond with their mutual
expression.

It was whispered among friends that day by day Elinor's face was
assuming a deeper shade of pensiveness which threatened soon to render
her too true a counterpart of her melancholy picture. Walter, on the
other hand, instead of acquiring the vivid look which the painter had
given him on the canvas, became reserved and downcast, with no outward
flashes of emotion, however it might be smouldering within. In course
of time Elinor hung a gorgeous curtain of purple silk wrought with
flowers and fringed with heavy golden tassels before the pictures,
under pretence that the dust would tarnish their hues or the light dim
them. It was enough. Her visitors felt that the massive folds of the
silk must never be withdrawn nor the portraits mentioned in her