She gave him a portfolio, the sketches in which indicated a happier mood of mind, and one, it is to be hoped, more truly characteristic of the artist. Supposing neither of these classes of subject to show anything of her own individuality, Miriam had evidently a great scope of fancy, and a singular faculty of putting what looked like heart into her productions. The latter sketches were domestic and common scenes, so finely and subtilely idealized that they seemed such as we may see at any moment, and eye, where; while still there was the indefinable something added, or taken away, which makes all the difference between sordid life and an earthly paradise. The feeling and sympathy in all of them were deep and true. There was the scene, that comes once in every life, of the lover winning the soft and pure avowal of bashful affection from the maiden whose slender form half leans towards his arm, half shrinks from it, we know not which. There was wedded affection in its successive stages, represented in a series of delicately conceived designs, touched with a holy fire, that burned from youth to age in those two hearts, and gave one identical beauty to the faces throughout all the changes of feature.
There was a drawing of an infant's shoe, half worn out, with the airy print of the blessed foot within; a thing that would make a mother smile or weep out of the very depths of her heart; and yet an actual mother would not have been likely to appreciate the poetry of the little shoe, until Miriam revealed it to her. It was wonderful, the depth and force with which the above, and other kindred subjects, were depicted, and the profound significance
