to do him justice, was the real dressmaker, and did everything except cut
the cloth and sew it together. He sent to friends of his in the city for
certain paste jewels and ornaments, and one day Cynthia stood in the old
tannery shed--hastily transformed into a studio--before a variously moved
audience. Sukey, having adjusted the last pin, became hysterical over her
handiwork, Millicent Skinner stared openmouthed, words having failed her
for once, and Jethro thrust his hands in his pockets in a quiet ecstasy
of approbation.

"A-always had a notion that cloth'd set you off, Cynthy," said he,
"er--next time I go to the state capital you come along--g-guess it'll
surprise 'em some."

"I guess it would, Uncle Jethro," said Cynthia, laughing.

Jethro postponed two political trips of no small importance to be present
at the painting of that picture, and he would sit silently by the hour in
a corner of the shed watching every stroke of the brush. Never stood
Doge's daughter in her jewels and seed pearls amidst stranger
surroundings,--the beam, and the centre post around which the old white
horse had toiled in times gone by, and all the piled-up, disused
machinery of forgotten days. And never was Venetian lady more unconscious
of her environment than Cynthia.

The portrait was of the head and shoulders alone, and when he had given
it the last touch, the painter knew that, for once in his life, he had
done a good thing. Never before; perhaps, had the fire of such
inspiration been given him. Jethro, who expressed himself in terms (for
him) of great enthusiasm, was for going to Boston immediately to purchase
a frame commensurate with the importance of such a work of art, but the