less distant resemblance to the Commissionsrath; so
that nobody who read what was on the envelope could make any mistake as
to whom the portrait was intended for.

The Commissionsrath was delighted with it. "There," he said; "there you
see what a painter who knows his business can make of a more or less
well-looking fellow, though he _may_ be getting a little on in years! I
begin to understand now (I didn't before), a thing that the Professor
in the Humanity Class used to say, that a proper portrait ought to be a
regular historical picture. Whenever I look at that one, I remember
that delicious and happy moment when the news came of my prize in the
lottery, and I understand the meaning of that smile on my face--that
reflection of the happiness I felt within me then."

Before Albertine could carry out the plans which she had formed in her
mind, her father took the initiative by begging Edmund to paint _her_,
as well. Edmund begun this work at once; but he did not find it so easy
to satisfy himself with her portrait as with her father's. He put in a
most careful outline, and then rubbed it out again; outlined once
more--carefully--begun to lay on some colour, and then threw the whole
thing aside; commenced again; altered the pose. There was always either
too much light in the room, or not enough. The Commissionsrath, who had
always been present at those sittings at first, got tired presently,
and betook himself elsewhere.

Upon this, Edmund came forenoon and afternoon, and if the picture did
not make much progress, the love-affair made a great deal, and entwined
itself more and more firmly. I have no doubt, dear reader, that your
own experience has shown you that when one is in love, and wants to
give to all the fond, longing words and wishes, which one has got to
express, their due and proper effect, so that they may go to the
listener's very heart, it is a matter of absolute necessity that one
should take hold of the hand of the beloved object, press it, and kiss
it; upon which, as by the operation of some sudden development of
electrical force, lip goes into contact with lip; and the electricity
(if that is what we are to call it), arrives at a condition of
equilibrium by means of a fire-stream of sweetest kisses. Thus Edmund
was very often obliged to stop painting, and not only that, but he had
very frequently to get down from the scaffold upon which he and his
easel were placed.

Thus it came about that, one for