Chapter III

The Noonday was nearly finished. The city was ringing with the surpassing beauty and the matchless voice of the young singer Alice. And Martin Gray’s numerous and powerful friends every where declared that the picture on which he worked so diligently, would add the greenest leaf to his glory-wreath.

The artist loved his picture—loved he the original? No! he could have worshiped the canvas on which that matchless face was impressed, but when he looked on Alice, and listened to her beautiful words and the so musical, delicious pronunciation, though he saw and heard with the most enthusiastic admiration, it was still only that of the artist—the man’s heart was untouched.

He had never shown to her the “child-angel.” After his call upon “Alice,” so strengthened was become Martin Gray’s persuasion that it was the Alice of bygone recollections, that he feared to hazard the display of the portrait to her.

Let us see if his precaution was a wise one.

It was the last sitting. On the following day the lady was to depart with a distinguished company of singers, on a long professional tour through the Western and Southern cities. She had risen, for the hour was passed, and stood looking for the last time on the beautiful works of the artist, which adorned the room.

“Do you remember,” said Martin, approaching her, “I promised to show you the portrait which I called the Sunrise, pardon me that I have not done so before, this is the one.”

He raised his hand and turned to the light a small picture, which for the few past days had looked upon the wall.

A broken exclamation of surprise, rather than the usual tribute of warm praise, escaped the young creature.

“Did you paint this?” she asked. “Pray tell me when and how?” she added, recovering her self-possession immediately.

“I was a youth, very poor and needy, having some talent, and a great deal of taste for sketching and painting. Very unfortunately, as I thought, I was forced either to altogether resign this employment so delightful to me, or to pursue it in order to supply myself with food and clothes. To me it must not be a pastime—I could not hesitate long—it became my profession. But I had, what to you may seem an inconceivable dislike to painting faces merely as a workman paints letters on a sign. I imagined that it was just as easy to win the smiles of dame Fortune by picturing only the exceedingly beautiful, and giving them emblematic names, and I was not altogether wrong. Passing one day through the streets of this very city, I came upon a group of children playing—one of that little band struck me as being nothing short of perfection, I could think of nothing as I looked on her, but how beautiful a sunrise!—how splendid will be the day that ensues! At my request the child guided me to her home, it was a poor one, and therein bore a great resemblance to my own. The mother consented that I should take the child’s likeness, and—this is it, I never saw the little one again. Afterward, as I have told you, for many years I traveled in Europe, but though constantly on the look out, I never found a Noonday worthy to follow a Sunrise like this child’s. I thank you, madam, that I have in you, and in my own city, at last found what Europe could not show me.”

“May I ask,” said the lady, with face slightly averted from the gaze of Martin Gray, “may I ask the name of the girl?”

It was the question which of all others the artist most wished her to propose, and he watched her closely, as in a careless tone that belied his glance, he said—

“I remember it very well—it was Alice Flynn!”

“Thank you—it is indeed a lovely picture! You have amply deserved, sir, all the honors that are, or can be awarded to you.”

Martin Gray attended her to the carriage that stood in waiting, but Alice the songstress did not look upon him till she gave him her hand in parting, when he saw her face, then, the artist knew he had not been deceived; she was pale as death.

A few months afterward, came from a city far to the South, a letter to our hero, its contents were a five hundred dollar note, and these words:

“The child for whose education you so generously provided when both she and yourself were poor and unknown, would fain convince you that with increase of years, and fortune, and happiness, she has not forgotten—that she is not ungrateful. All the good that has fallen to her in this life she is glad and proud to trace directly to you, to that one act of well-timed charity. May the God of Heaven for ever bless you. The ‘Sunrise’ and the ‘Noonday’ of your life you have made unspeakably glorious, may the night be without a cloud, and complete in its magnificence!”

It required no shrewd guesser to determine for Martin Gray the author of this brief note. The cities of the South were at that very moment vieing with each other in lauding the Northern songsters, and the queen of beauty and of song, the lady “Alice”—and the artist rejoiced in her brilliant success, and waited with impatience till he should see and speak with her again.

In the years when honors thickly clustered around his brow, when Fortune had laid many of her choicest gifts at his feet, there was yet one thing wanting to complete his happiness.

There were few homes on earth so beautiful as his, and his wife and children (for Martin in course of time became an old man,) were all that the heart of man could desire. There were no lines betokening care, or a fierce strife with the world, on the artist’s handsome face. He had labored, and that constantly, it is true, but his had not been a wearying toil, rather such as had been intensely satisfying. The visions of beauty with which he mentally surrounded himself; had never been frightened away by rough and harsh experience—to him even as in his youth, “all things beautiful were what they seemed!”

Many enchanting, perfect works had gone forth from the rooms of Martin Gray into the world, but there were two original ones for which he rejected every offer, however extravagant. Copies and engravings of them had been given to the public, but the canvas on which his fingers worked while his eyes were gazing on the loveliest and most perfect specimens of beauty to his mind conceivable, were precious beyond all price to him.

The series had not been completed, for Martin Gray had never seen a human being fearfully beautiful, and irrevocably fallen, whereby to represent the “Night.” And as years passed on, his heart more earnestly and continually hoped that he never might.

The great artist is dead. The passing visions of a beautiful fancy have forever flitted away—“he sleeps the last sleep”—but his works live after him. They live to speak to us of their creator—to tell us of his goodness, of the deep unfathomed spring of human love within his heart. He sleeps, but he has left a name that is cherished by his country, and his genius is a source of national pride. How well is he remembered and loved by those who knew him! And the students in his own glorious art, with what enthusiasm and reverence do they cherish a memory of him!

During his widow’s life his studio remained as he had left it—it was a Mecca to which for years pilgrims most devout resorted. To many that artist’s rooms were sacred places; standing in them they breathed the air of inspiration, and held sweet communings with the spirit of the Beautiful.

Of the sublime lessons, and they were many, which spoke forth from those walls, there was one that made the gazer shudder and turn pale. No one gazing on the three faces which were separated from all other paintings wrought by the same hand, could have resisted the conviction that the artist had meant, ay, and that he had succeeded in conveying to the mind of the gazer, a deep and awful moral lesson, for the “Night” was with the “Sunrise” and the “Noonday!”

It was marvellous, it was dreadful to trace the great resemblance between the likeness of the angelic little child, the incomparably beautiful maiden, and the splendid, but fallen woman!

The same bright curling hair, the same deep, sapphire eyes, the fresh bloom on the fair cheek, the graceful form—they were unmistakeable. But oh! there was an expression on those features of the eldest woman, that the innocent child and the guileless maiden could not have interpreted—it was a bold, defiant look, that told it was a sorrowful and an ever-to-be-lamented day that saw her come before the world to wrestle for its honors—a very siren, but ah! how weak to strive against its sinful allurements, its awful temptations.

They are one and the same, said every heart that gazed upon them. Reader, they were! For the “Night” was also a portrait, and the last work of Martin Gray!

Alas! alas! sweet Alice! splendid and courted Alice! wretched and ruined Alice!