own characteristic expression, but which, nevertheless, we at once recognize as reflecting the unlovely truth of a human soul.

In such cases, the painter’s deep conception of his subject’s inward traits has wrought itself into the essence of the picture, and is seen after the superficial coloring has been rubbed off by time.

While gazing at the portrait, Hepzibah trembled under its eye. Her hereditary reverence made her afraid to judge the character of the original so harshly as a perception of the truth compelled her to do. But still she gazed, because the face of the picture enabled her — at least, she fancied so — to read more accurately, and to a greater depth, the face which she had just seen in the street.

“This is the very man!”