nor common observers, but people of natural sensibility—that the pictures wrought their strongest effect. Such persons might gaze carelessly at first, but, becoming interested, would return day after day, and study these painted faces like the pages of a mystic volume. Walter Ludlow's portrait attracted their earliest notice. In the absence of himself and his bride, they sometimes disputed as to the expression which the painter had intended to throw upon the features; all agreeing that there was a look of earnest import, though no two explained it alike. There was less diversity of opinion in regard to Elinor's picture. They differed, indeed, in their attempts to estimate the nature and depth of the gloom that dwelt upon her face, but agreed that it was gloom, and alien from the natural temperament of their youthful friend. A certain fanciful person announced, as the result of much scrutiny, that both these pictures were parts of one design, and that the melancholy strength of feeling, in Elinor's countenance, bore reference to the more vivid emotion, or, as he termed it, the wild passion, in that of Walter. Though unskilled in the art, he even began a sketch, in which the action of the two figures was to correspond with their mutual expression.
It was whispered among friends, that, day by day, Elinor's face was assuming a deeper shade of pensiveness, which threatened soon to render her too true a counterpart of her melancholy picture. Walter, on the other hand, instead of acquiring the vivid look
