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have seen the fourteenth Duke somewhat as he stood reflected in the mirror of his room. Resist your impulse to pass on to the painting which hangs next but two to Lawrence's. It deserves, I know, all that you said about it when (at the very time of the events in this chronicle) it was hanging in Burlington House. Marvellous, I grant you, are those passes of the swirling brush by which the velvet of the mantle is rendered—passes so light and seemingly so fortuitous, yet, seen at the right distance, so absolute in their power to create an illusion of the actual velvet. Sheen of white satin and silk, glint of gold, glitter of diamonds—never were such things caught by surer hand obedient to more voracious eye. Yes, all the splendid surface of everything is there. Yet must you not look. The soul is not there. An expensive, very new costume is there, but no evocation of the high antique things it stands for; whereas by the Duke it was just these things that were evoked to make an aura round him, a warm symbolic glow sharpening the outlines of his own particular magnificence. Reflecting him, the mirror reflected, in due subordination, the history of England. There is nothing of that on Mr. Sargent's canvas. Obtruded instead is the astounding slickness of Mr. Sargent's technique: not the sitter, but the painter, is master here. Nay, though I hate to say it, there is in the portrayal of the Duke's attitude and expression a hint of something like mockery—