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100 Even to Pierre these two paintings had always seemed strangely dissimilar. And as the larger one had been painted many years after the other, and therefore brought the original pretty nearly within his own childish recollections; therefore, he himself could not but deem it by far the more truthful and life-like presentation of his father. So that the mere preference of his mother, however strong, was not at all surprising to him, but rather coincided with his own conceit. Yet not for this, must the other portrait be so decidedly rejected. Because, in the first place, there was a difference in time, and some difference of costume to be considered, and the wide difference of the styles of the respective artists, and the wide difference of those respective, semi-reflected, ideal faces, which, even in the presence of the original, a spiritual artist will rather choose to draw from than from the fleshy face, however brilliant and fine. Moreover, while the larger portrait was that of a middle-aged, married man, and seemed to possess all the nameless and slightly portly tranquillities incident to that condition when a felicitous one; the smaller portrait painted a brisk, unentangled, young bachelor, gaily ranging up and down in the world; light-hearted, and a very little bladish perhaps; and charged to the lips with the first uncloying morning fulness and freshness of life. Here, certainly, large allowance was to be made in any careful, candid estimation of these portraits. To Pierre this conclusion had become well-nigh irresistible, when he placed side by side two portraits of himself; one taken in his early childhood, a frocked and belted boy of four years old; and the other, a grown youth of sixteen. Except an indestructible, all-surviving something in the eyes and on the temples, Pierre could hardly recognise the loud-laughing boy in the tall, and pensively smiling youth. If a few years, then, can have in me made