y" the fairy, who,
in the whirlpool of the Rhine, sings her magic song and combs her hair
with a golden comb, while her left shoulder rises from the waves,
which partially conceal her form. Her eyes gaze invitingly at the
fisherman, whom she entices to his ruin. In the second photograph she
appeared as "Cleopatra" at Tarsus, where she is displaying all her
charms to seduce her conqueror and make him her slave; a rich
portrait, in which the lascivious queen is represented laden with
splendid dresses and jewels, while the expression of the beautiful
face was an admirable mixture of pride, dignity, and weakness. The
third photograph presented the sun-queen, "Atahualpa," the wife of the
last Inca. Her look was haughty and sublime; the sublimity of the
expression diverts attention from the uncovered arms, white as marble,
round as an infant's, which are raised to heaven, offering as a
sacrifice a human heart. Her face mirrored the coldness of heaven
itself. The fourth, as the "Greek Slave"; she represented the
tortured beauty, who in vain tries to break the chains of shame in
which she is bound--a lovely marble statue, equal in conception to one
by Thorwaldsen or Pradier. The fifth was the "Bacchante," from one of
the Roman bas-reliefs, which represents the procession of Bacchus. A
wild, bold, dissolute conception; showing accessories of surprising
drapery, panther skins, cups, etc., an ideal debauch; limbs in wild
movement. The sixth portrait was of a bride; a white lace dress, upon
her head a white garland, her figure concealed by a white veil, on her
face an expression of soft emotion at the approaching realization of
her happiness, in her eyes tears, on her lips a tremulous smile. With
what wonderful charm she stretches out her hand to receive the
betrothal ring! The eighth portrayed a young woman who for the first
time puts the matron's cap upon her head. Pride, shame, and conscious
triumph are all in her face. She feels that the cap upon her head is a
well-deserved crown--a crown for which she has sacrificed a garland.

Ivan contemplated this picture for a long time; his heart was full of
the bitterness of disappointed love. His adopted son's present had
been somewhat unfortunate.

The ninth photograph represented Evila as a "Bayadere," in the
artistic dress of the Indian dancer, striking the tambourine over her
head. Round her slight figure a shawl embroidered in gold was wound in
careless folds, on her neck a chain