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 only interrupted by the exclamations of surprise and interest excited for the unfortunate Juliana. Ferdinand alone appeared untouched by the general emotions. At length, one of the ladies sitting near him broke the silence by saying, “This story is literally true; I knew the family where the fatal portrait caused the death of a charming young girl: I have also seen the picture; it has, as the young lady truly observed, an indescribable air of goodness which penetrates the heart, so that I could not bear to look on it long; and yet, as you say, its look is so full of tender melancholy, and has such infinite attractions, that it appears that the eyes move and have life.”

“In general,” resumed the mistress of the house, at the same time shuddering, “I don’t like portraits, and I would not have any in the rooms I occupy. They say that they become pale when the original expires; and the more faithful the likeness, the more they remind me of those waxen figures I cannot look at without aversion.”

“That is the reason,” replied the young person who had related the history, “that I prefer those portraits where the individual is represented occupied in some employment, as then the figure is entirely independent of those who look at it; whereas in a simple portrait the eyes are inanimately fixed on every thing that passes. Such portraits