A Face Illumined

Although the sun was approaching the horizon, its slanting rays found a young artist still bending over his easel. That his shoulders are broad is apparent at a glance; that upon them is placed a shapely head, well thatched with crisp black hair, is also seen at once; that the head is not an empty one is proved by the picture on the easel, which is sufficiently advanced to show correct and spirited drawing. A brain that can direct the hand how to do one thing well, is like a general who has occupied a strategic point which will give him the victory if he follows up his advantage.

A knock at the door is not answered at once by the intent and preoccupied artist, but its sharp and impatient repetition secures the rather reluctant invitation,

"Come in," and even as he spoke he bent forward to give another stroke.

"Six o'clock, and working still!" cried the intruder. "You will keep the paint market active, if you achieve nothing else as an artist."

"Heigho! Ik, is that you?" said he of the palette, good-naturedly; and rising slowly he gave a lingering look at his work, then turned and greeted his friend with the quiet cordiality of long and familiar acquaintance. "What a marplot you are with your idle ways!" he added. "Sit down here and make yourself useful for once by doing nothing nothing for ten minutes. I am in just the mood and have just the light for a bit of work which perhaps I can never do as well again," and the artist returned promptly to his picture.

In greeting his friend he had revealed that he was above middle height, that he had full black eyes that were not only good for seeing, but could also, if he chose, give great emphasis to his words, and at times be even more expressive. A thick mustache covered his lip, but the rest of his face was cleanly shaven, and was strong and decided in its outlines rather than handsome.

"They say a woman's work is never done," remarked Ik Stanton, dropping into the easiest chair in the studio, "and for this reason, were there no other, your muse is evidently of the feminine persuasion. I also admit that she is a lady of great antiquity. Indeed I would place her nearer to the time when 'Adam delved and Eve span' than to the classic age."

"My dear Ik," responded the artist, "I am often at a loss to know whether I love or despise you most. If a little of the whirr of our great grandam's spinning wheel would only get into your brain the world might hear from you. You are a man of unbounded stomach and unbounded heart, and so you have won all there is of me except my head, and that disapproves of you."

"A fig for the world! what good will it do me or it to have it hear from me? you ambitious fellows are already making such a din that the poor old world is half ready for Bedlam; and would go stark mad were it not for us quiet, easy-going people, who have time for a good dinner and a snack between meals. You've got a genius that's like a windmill in a trade wind, always in motion; you are worth more money than I shall ever have, but you are the greatest drudge in the studio building, and work as many hours as a house-painter."

"When your brain once gets in motion, Ik, fiction will be its natural product. You must admit that I have not painted many pictures."

"That is one of the things I complain of; I, your bosom friend and familiar, your, I might add, guardian angel--I, who have so often saved your life by quenching the flame of your consuming genius with a hearty dinner, have been able to obtain one picture only from you, and as one might draw a tooth. Your pictures are like old maid's children--they must be so perfect that they can't exist at all. But come, the ten minutes are up. Here's the programme for the evening--a drive in the Park and a little dinner at a cool restaurant near Thomas's Garden, and then the concert. That prince of musical caterers has made a fine selection for to-night, and, with the cigar stand on one side of us and the orchestra on the other, we are certain to kill a couple of hours that will die like swans."

"You mention the cigar-stand first."

"Why not? Smoke is more real than empty sound."

"Are you not equally empty, Ik, save after dinner? How have the preceding hours of this long day been killed?"

"Like boas. They have enfolded me with a weary weight."

"The snakes in your comparison are larger than your pun, and the pun, rather than yourself, suggests a constrictor's squeeze."

"Come, you are only abusing me to gain time, and you may gain too much. My horses have more mettle than their master, and may carry off my trap and groom to parts unknown, while you are wasting paint and words. You are like the animals at the Park, that are good-natured only after they are fed. So shut up your old paint shop, and come along; we will shorten our ride and lengthen our dinner."

With mutual chaffing and laughter the young men at last went down to where a liveried coachman and a pair of handsome bays were in waiting. Taking the high front seat and gathering up the reins, Ik Stanton, with his friend Harold Van Berg at his side, bowled away towards the Park at a rapid pace.

Harold Van Berg was, in truth, something of a paradox. He was an artist, and yet was rich; he had inherited large wealth, and yet had formed habits of careful industry. The majority of his young acquaintances, who had been launched from homes like his own, were known only as sons of their fathers, and degenerate sons at that. Van Berg was already winning a place among men on the ground of what he was and could do himself.

It were hard to say which was the stronger motive, his ambition or the love of his art; but it seemed certain that between the two, such talent as he had been endowed with would be developed quite thoroughly. And he did possess decided talent, if not genius. But his artistic gift accorded with his character, and was controlled by judgement, correct taste, and intellectuality rather than by strong and erratic impulses. His aims were definite and decided rather than vague and diffusive; but his standards were so high that, thus far, he had scarcely attempted more than studies that were like the musician's scales by which he seeks to acquire a skill in touch that shall enable him to render justly the works of the great composers.

His family had praised his work unstintedly, and honestly thought it wonderful; he had also been deluged with that kind of flattery which relaxes the rules of criticism in favor of the wealthy. Thus it was not strange that the young fellow, at one time, believed that he was born to greatness by a kindly decree of fate. But as his horizon widened he was taught better. His mind, fortunately, grew faster than his vanity, and as he compared his crude but promising work with that of mature genius, he was not stricken with that most helpless phase of blindness--the inability to see the superiority of others to one's self. Every day, therefore, of study and observation was now chastening Harold Van Berg and preparing him to build his future success on the solid ground of positive merit as compared with that of other and gifted artists.

Van Berg's taste and talent led him to select, as his specialty, the human form and countenance, and he chiefly delighted in those faces which were expressive of some striking or subtle characteristic of the indwelling mind. He would never be content to paint surfaces correctly, giving to features merely their exact proportions. Whether the face were historical, ideal, or a portrait, the controlling trait or traits of the spirit within must shine through, or else he regarded the picture as scarcely half finished.

A more sincere idolator than Van Berg, in his worship of beauty, never existed; but it was the beauty of a complete man or a complete woman. Even in his early youth he had not been so sensuous as to be captivated by that opaque fragment of a woman--an attractive form devoid of a mind. Indeed with the exception of a few boyish follies, his art had been his mistress thus far, and it was beginning to absorb both heart and brain.

With what a quiet pulse--with what a complacent sense of security we often meet those seemingly trivial events which may change the whole character of our lives! The ride had been taken, the dinner enjoyed, and the two friends were seated in the large cool hallway off the concert garden, where they could smoke without offence. The unrivalled leader, Thomas, had just lifted his baton--that magic wand whose graceful yet mysterious motion evokes with equal ease, seemingly, the thunder of a storm, the song of a bird, the horrid din of an inferno, or a harmony so pure and lofty as to suggest heavenly strains. One of Beethoven's exquisite symphonies was to be rendered, and Van Berg threw away his half-burned cigar, settled himself in his chair and glanced around with a congratulatory air, as if to say, "Now we are to have one of those pleasures which fills the cup of life to overflowing."

Oh, that casual glance! It was one of those things that we might justly call "little." Could anything have been more trivial, slight, and apparently inconsequential than this half involuntary act? Indeed it was too aimless even to have been prompted by a conscious effort of the will. But this book is one of the least results of that momentary sweep of the eye. Another was, that Van Berg did not enjoy the symphony at all, and was soon in a very bad humor. That casual glance had revealed, not far away, a face that with his passion for beauty, at once riveted his attention. His slight start and faint exclamation, caused Ik Stanton to look around also, and then, with a mischievous and observant twinkle in his eyes, the bon vivant resumed his cigar, which no symphony could exorcise from his mouth.

At a table just within the main audience room, there sat a young lady and gentleman. Even Van berg, who made it his business to discover and study beauty, was soon compelled to admit to himself that he had never seen finer features than were possessed by this fair young stranger. Her nose was straight, her upper lip was short, and might have been modelled from Cupid's bow; her chin did not form a perfect oval after the cold and severe Grecian type, but was slightly firm and prominent, receding with decided yet exquisite curves to the full white throat. Her cheeks had a transparent fairness, in which the color came and went instead of lingering in any conventional place and manner; her hair was too light to be called brown and too dark to be golden, but was shaded like that on which the sunlight falls in one of Bougereau's pictures of "Mother and Child;" and it rippled away from a broad low brow in natural waves, half hiding the small, shell-like ears.

Van Berg at first though her eyes to be her finest feature, but he soon regarded them as the worst, and for the same reason, as he speedily discovered, that the face, each feature of which seemed perfect, became, after brief study, so unsatisfactory as to cause positive annoyance. To a passing glance they were large, dark, beautiful eyes, but they lost steadily under thoughtful scrutiny. A flashing gem may seem real at first, but as its meretricious rays are analyzed, they lose their charm because revealing a stone not only worthless worse than worthless, since it mocks us with a false resemblance, thus raising hopes only to disappoint them. The other features remained beautiful and satisfactory to Van Berg's furtive observation because further removed from the informing mind, and therefore more justly capable of admiration upon their own merits; but the eyes are too near akin to the animating spirit not to suffer from the relationship, should the spirit be essentially defective.