Part 169

COMING TO TERMS.

One of the most distinguished artists in Paris painted for a lady occupying a brilliant position in society her portrait, with the intention of placing it in an exhibition afterwards. The lady, although a long time celebrated for her beauty, had arrived at that age which is seldom admitted (fifty years), but endeavoured to conceal it through cosmetics, and showed herself as beautiful and captivating as in her younger days [= years]. Paris is full of resources, and ointments are to be obtained there to heal the wounds of time.

Our heroine had her portrait taken in the most graceful attitude; splendidly dressed, and leaning on an arm-chair, she looked smiling into the glass, which should return her the most amiable compliments. The painter made a most striking likeness, but this was a great mistake—a flattering one was expected, and the lady subsequently declared that she did not recognise herself (App. § 28) in this painting, and the portrait was left on the painter’s hands. The artist, feeling himself hurt in his pride, was too good a philosopher to keep a portrait worth three thousand francs quietly on his hands, and an idea of vengeance presented itself to his mind, which he put into execution at once.

A short time before the day fixed for the opening of the art-exhibition at the Louvre, the lady was secretly informed that her portrait was ornamented with certain accessories rather compromising her. She went immediately to the artist. There was the portrait! It was the same striking likeness certainly; but the painter had thinned the hair, and the lady so faithfully painted held in her hand two large tresses of false hair. On the toilet table were several small bottles, labelled thus: “White-Wash,” “Vegetable Red,” “Cosmetic, to efface wrinkles,” “Lotion, to dye the hair in a minute.”

“It is abominable,” said the lady, greatly excited.

“Of what do you complain?” coolly replied the artist. “Did you not declare (S. 48, N. 2, and App. § 28) that it was not your portrait? You are right, it is a mere fancy sketch, and as such I shall send it to the exhibition.”

“What, Sir, do you intend to exhibit this painting?”

“Certainly, Madam; but as a cabinet picture, since the catalogue will indicate it under the title of ‘The Coquette of Fifty Years.’”

At this the lady fainted, but soon recovered, and then paid at once for the portrait. The accessories were effaced in her presence, the portrait was restored to its original state, and the three thousand francs were transferred to the purse of the painter.—THE YOUNG LADIES’ JOURNAL.

= The Compromise.

An artist in Berlin, +ein Berliner Künstler+.

‘painted — portrait’ may be briefly rendered = painted the portrait of a high-placed (+hochgestellt+) lady.

+in.+

= Although the lady was for a long time (+seit lange+) celebrated for (+wegen+) her beauty (see S. 27, N. 8).

= she had now reached that age; admitted = confessed (+eingestanden+).

= however, to be placed after ‘endeavoured’.

and — time = and offers (+darbieten+) ointments, which heal all the wounds of time.

to have one’s portrait taken, +sich malen lassen+.

= tell.

+schaffen+, str. v. tr.; a most striking likeness, +ein höchst ähnliches Bild+.

= the lady expected one that flattered her (S. 48, N. 6).

+mithin+, to be placed after ‘declared’.

and — hands = and refused the acceptance of the same (to agree with ‘painting’).

to keep a portrait quietly on one’s hands, +ein Portrait ganz ruhig bei sich liegen lassen+.

and — mind = and devised a plan of vengeance (S. 36, N. 7, A).

+zu+.

+im Louvre+.

+daß ihr Portrait mit gewissen sie kompromittierenden Zusätzen verziert sei.+