The artist and his companion were rather silent as they walked, he studying the lights and shadows with appreciative eye, and she apparently absorbed in thought. At length she seemed to come in her reverie to some doubt which she needed his aid to resolve.
"Tom," she asked, rather hesitatingly, "have you noticed any change in Ralph lately?"
"Change?" repeated Claymore interrogatively, with a quick flash of interest in his eyes despite the studied calmness of his manner.
"Yes. He has n't been the same since--since--"
"Since when?" the artist inquired, as she hesitated.
"Why, it must be almost ever since we came home and you began to paint him," Celia returned thoughtfully; "though I confess I have noticed it only lately. Has n't it struck you?"
Her companion, instead of replying directly, began carefully to examine the carving on the head of his walking-stick.
"You forget how slightly I knew him before," he said. "What sort of a change do you mean?"
"He has developed. He seems all at once to be becoming a man."
"He is twenty-eight. It is n't strange that there should be signs of the man about him, I suppose."
"But he has always seemed so boyish," Celia insisted, with the air of one who finds it difficult to make herself understood.
"Very likely something has happened to sober him," Tom answered, with an effort to speak carelessly, which prevented him from noticing that Celia flushed slightly at his words.
They had reached Miss Sathman's gate, and he held it open for her.
"It was very good of you to come this afternoon," he told her. "When will you take your next lesson?"
"I can't tell," she replied. "I'll let you know. Won't you come in?"
The invitation was given with a certain faint wistfulness, but he declined, and lifting his hat, bade her good-night. She turned on the doorstep and looked after him as his strong, resolute figure passed down the street, and a sigh escaped her.
"I wonder if Tom will seem to me so reserved and cold after we are married," was her thought.
II
People in general thought Tom Claymore's nature cold and reserved because his manner was so. He was reticent perhaps to a fault, but the reticent man who is cold is a monster, and Tom was far from being anything so disagreeable as that. His was the shy artistic temperament, and the circumstances of his rather lonely life had fostered a habit of saying little while he yet felt deeply, and since he took life seriously, he seldom found himself disposed to open his heart in ordinary conversation.
Even with his betrothed he had not yet outworn the reserve which every year of his life had strengthened, and Celia, despite her betrothal, was not wholly free from the common error of supposing that, because he did not easily express his sentiment, he lacked warmth of feeling. She had been his pupil in Boston, and it was for the sake of being near her that he had established himself at Salem for the summer, making a pretext of the fact that he had promised to paint the portrait of her cousin, Ralph Thatcher.
Tom Claymore could not have told at what stage of his work upon this portrait he became possessed of the idea that he had been unconsciously painting rather the possibilities than the realities of his sitter's face. At first he smiled at the thought as a mere fanciful notion; then he strove against it; but he ended by giving his inspiration, or his whim, free rein, and deliberately endeavoring to portray the noblest manhood of which Ralph Thatcher's face seemed to him to contain the germs. He felt a secret impatience with the young man, who, with wealth, health, and all the opportunities of life, seemed still too much a boy properly to appreciate or to use them; and as the portrait advanced, the belief grew in Claymore's mind that, when it was completed, some effect might be produced upon Thatcher by its showing him thus vividly the possibilities of character he was wasting. The artist did not, it is true, attach much importance to this notion, but when once he had given himself up to it, he at least found much interest in following out his endeavor. The idea of a sitter's being influenced by a portrait is by no means a novel one among painters, and Claymore took pains to have Thatcher see the picture as soon as it got beyond its early stages. He wanted it to have to the full whatever influence was possible, and he was eager to discover how soon its departure from an exact likeness would become apparent to the original.
A curious complication followed. It was not long before it began to seem to Tom that Ralph was growing up to the ideal the portrait showed. At first he rejected the idea as utterly fanciful. Then he recalled an experience a brother artist had related to him in Paris, where a girl who had been painted in the dress of a nun worn at a fancy ball, came, by brooding over the picture, to be so possessed with a belief in her vocation that she ended by actually taking the veil. The cases were not exactly parallel, but Claymore saw in them a certain similarity, in that both seemed to show how a possibility might be so strongly expressed on canvas as to become an important influence in making itself an actuality. He became intensely interested in the problem which presented itself. He had before this time remarked to Celia that Ralph only needed arousing to develop into a noble man, and he began to speculate whether it could be within his power to furnish the impulse needed--the filament about which crystallization would take place all at once. He worked slowly and with the utmost care, taking pains to have Thatcher at the studio as much as possible even on days when he was not posing, so that the picture might be constantly before his eyes; and of one thing at least he was sure beyond the possibility of a doubt-- Ralph was certainly developing.
"_Post hoc sed non ergo propter hoc_," he said to himself, in the Latin of his school debating-society days; but secretly he believed that in this case the effect was no less "because" than "after."
On the morning after Celia had talked with her betrothed about the picture, Ralph gave the artist a sitting. The young man seemed so preoccupied that Tom rallied him a little on his absence of mind, inquiring if Thatcher wished his portrait to have an air of deep abstraction.
"I was not thinking of that confounded old picture at all," the young man responded, smiling. "I was merely--well, I do not know exactly how to tell you what I was doing. Do you ever feel as if the reflective part of you, whatever that may be, had gone into its office for private meditation and shut your consciousness outside?"
"Yes," Tom answered; "and I always comfort myself for being excluded by supposing that at least something of real importance must be under consideration or it would n't be worth the trouble to shut the doors so carefully."
"Do you?" returned the sitter. "I had a jolly old clerical uncle who used to lock the door of his study and pretend to be writing the most awe-inspiring sermons, when he really was only having a well-fed nap.
I am afraid," he went on, with a sigh and a change of manner, "that there is little of real importance has ever gone on in my mind. Do you know, I am half inclined to hate you."
The artist looked up in surprise.
"Hate me?" he echoed. "Why should you hate me?"
"Because you are everything that I am not; because you succeed in everything and I never did anything in my life; because at this poker-table of life you win and I lose."
A strange tinge of bitterness showed itself in Ralph's voice, and puzzled Claymore. It was not like Thatcher to be introspective, or to lament lost possibilities. The artist rubbed his brush on his palette with a thoughtful air.
"Even if that were so," he said, "I don't see exactly why you should vent your disappointment on me. I'm hardly to blame, am I? But of course what you say is nonsense anyway."
"Nonsense? It is n't nonsense. I've done nothing. I know nothing. I'm good for nothing; and the worst of it is that the girl I've wanted all my life realizes it just as well as I do. She is n't a fool; and of course she does n't care a rap about me."
The confession was so frankly boyish that Claymore had a half-impulse to smile, but the feeling in it was too evidently genuine to be ignored.
One thing at least was clear: Ralph was at last beginning to be dissatisfied with his idle, purposeless life. He had come to the enlightenment of seeing himself as he might look to the eyes of the woman he cared for. The reflection crossed Claymore's mind that some disappointment in love might have brought about whatever change he had observed in his sitter, and that any influence which he had ascribed to the portrait had in reality come from this. The thought struck him with a ludicrous sense of having befooled himself. It was as if some gorgeous palace of fancy, carefully built up and elaborated, had come tumbling in ruins about his head. He made a gesture, half comic, half deprecatory, and laid down his palette.
"The light has changed," he said. "I can't paint any more to-day."
III
Claymore was intensely imaginative, and he possessed all the sanguine disposition of the artistic temperament, the power of giving himself up to a dream so that it for the time being became real. Matters which the reason will without hesitation allow to be the lightest bubbles of fancy are to such a disposition almost as veracious fact; and often the life of an imaginative man is shaped by what to cold judgment is an untenable hypothesis. The artist had not in the least been conscious how strong a hold the idea of awakening Ralph Thatcher had taken upon his mind, until the doubt presented itself whether the portrait had in reality possessed any influence whatever. He was not without a sense of humor, and he smiled inwardly at the seriousness with which he regarded the matter. He reasoned with himself, half petulantly, half humorously; sometimes taking the ground that his theory had been merely a fantastic absurdity, and again holding doggedly to the belief that it was founded upon some fragment at least of vital truth. He recalled vaguely a good many scraps of modern beliefs in the power of suggestion; then he came back to the reflection that if Ralph was in love, no suggestion was needed to cause a mental revolution.
Wholly to disbelieve in its own inspirations is, however, hardly within the power of the genuinely imaginative nature. Whatever his understanding might argue, Tom, in the end, would have been false to his temperament had he not remained convinced that he was right in believing that to some degree, at least, the picture he was painting had influenced his sitter. Without any consciously defined plan, he got out a fresh canvas, and occupied himself, when alone in the studio, by copying Ralph's head, but with a difference. As in the other picture he had endeavored to express all the noblest possibilities of the young man's face, in this he labored to portray whatever potentiality of evil might be found there. Every introspective person has experienced the sensation of feeling that a course of action is being followed as if by some inner direction, yet without any clear consciousness of the reason; and much as might have come a hint of the intentions or motives of another person, came to Tom the thought that he was painting this second portrait that its difference from the first might show him upon what foundations rested his fanciful theory. He wished, he told himself, at least to see how far he had expressed a personality unlike another equally possible.
As a faint shade on the artist's inner consciousness rested, however, a feeling that this explanation was not completely satisfactory. He would have been shocked had he even dreamed of the possibility that artistic vanity, aroused by the doubt that it possessed the power of moulding the life and destiny of Ralph, had defiantly turned to throw its influence into the other scale, to prove by its power of dragging the sitter down that its dominance was real. Had any realization of such a motive come to Claymore, he would have been horrified at a thought so evil; yet he failed to push self-investigation far enough to bring him to an understanding of his real motives.
The painter worked steadily and with almost feverish rapidity, and before the end of the week he was able to substitute the second portrait for the first when Ralph, who had been out of town for a few days, came for his next sitting. Tom was not without a good deal of uneasy secret curiosity in regard to the effect upon Thatcher of the changed picture.
He appreciated how great the alteration really was, a difference so marked that he had lacked the courage to carry out his first intention of exhibiting the new canvas to Celia. He excused himself for hesitating to show her the portrait by the whimsical pretext that it would not be the part of a gentleman to betray the discreditable traits of character he believed himself to have discovered as among the possibilities of her cousin's nature. What Ralph would himself say, the painter awaited with uneasy eagerness, and as the latter, after the customary greetings, walked up to the easel and stood regarding his counterfeit presentment, Tom found himself more nervous than he would have supposed possible.
Ralph studied the picture a moment in silence.
"What in the devil," he burst out, "have you been doing to my picture?"
"What is the matter with it?" the artist asked, stepping beside him, and in turn fixing his gaze on the portrait.
"I'm sure I don't know," Ralph replied, with a puzzled air; "but somehow or other it seems to me to have changed from a rather decent-looking phiz into a most accursedly low-lived one. Do I look like that?"
"I suppose a mirror would give a more disinterested answer to that question than I could."
Claymore glanced up as he spoke, and hardly repressed an exclamation of surprise. Ralph's whole expression was changing to correspond with that of the portrait before him. Who has not, in looking at some portrait which strongly impressed him, found in a little time that his own countenance was unconsciously altering its expression to correspond with that portrayed before him; and the chances that such a thing will occur must be doubly great when the picture is one's own image.
A portrait appeals so intimately to the personality of the person represented, human vanity and individuality insist so strongly upon regarding it as a part of self, that it stands in a closer relation to the inner being than can almost any other outward thing. It is, in a sense, part of the original, and perhaps the oriental prejudice against being portrayed, lest in the process the artist may obtain some sinister advantage, is founded upon some subtle truth. It can hardly be possible that, with the keen feeling every man must have in regard to his portrait, any one should fail to be more or less influenced by the painter's conception of him, the visible embodiment of the impression he has made upon another human mind; and since every picture must contain something of the personality of the artist, it follows that a portrait-painter is sure to affect in some degree the character of his sitters. It would rarely happen that this influence would be either intentional or tangible, but must it not always exist?
Claymore stood for a little time watching Ralph's face; then he walked away, and returned with a small mirror which he put in the latter's hand. Thatcher looked at the reflection it offered him, and broke into a hard laugh.