that the demon has a more upturned face, and scowls vindictively at the Archangel, who turns away his eyes in painful disgust."
"No wonder!" responded Miriam. "The expression suits the daintiness of Michael's character, as Guido represents him. He never could have looked the demon in the face!"
"Miriam!" exclaimed her friend, reproachfully, "you grieve me, and you know it, by pretending to speak contemptuously of the most beautiful and the divinest figure that mortal painter ever drew."
"Forgive me, Hilda!" said Miriam. "You take these matters more religiously than I can, for my life. Guido's Archangel is a fine picture, of course, but it never impressed me as it does you."
"Well; we will not talk of that," answered Hilda. "What I wanted you to notice, in this sketch, is the face of the demon. It is entirely unlike the demon of the finished picture. Guido, you know, always affirmed that the resemblance to Cardinal Pamfili was either casual or imaginary. Now, here is the face as he first conceived it."
"And a more energetic demon, altogether, than that of the finished picture," said Kenyon, taking the sketch into his hand. "What a spirit is conveyed into the ugliness of this strong, writhing, squirming dragon, under the Archangel's foot! Neither is the face an impossible one. Upon my word, I have seen it somewhere, and on the shoulders of a living man!"
"And so have I," said Hilda. "It was what struck me from the first."
