"But you can see the woman's fixed purpose; and her stealthiness as well;—and the man sleeps like a log. What is that dim outline?"
"Nothing in particular," said Dalrymple. But the dim outline was intended to represent Mrs. Van Siever.
"It is very good,—unquestionably good," said Mrs. Dobbs Broughton. "I do not for a moment doubt that you would make a great picture of it. It is just the subject for you, Conway; so much imagination, and yet such a scope for portraiture. It would be full of action, and yet such perfect repose. And the lights and shadows would be exactly in your line. I can see at a glance how you would manage the light in the tent, and bring it down just on the nail. And then the pose of the woman would be so good, so much strength, and yet such grace! You should have the bowl he drank the milk out of, so as to tell the whole story. No painter living tells a story so well as you do, Conway." Conway Dalrymple knew that the woman was talking nonsense to him, and yet he liked it, and liked her for talking it.
"But Mr. Dalrymple can paint his Sisera without making me a Jael," said Miss Van Siever.
"Of course he can," said Mrs. Broughton.
"But I never will," said the artist. "I conceived the subject as connected with you, and I will never disjoin the two ideas."
"I think it no compliment, I can assure you," said Miss Van Siever.
"And none was intended. But you may observe that artists in all ages have sought for higher types of models in painting women who have been violent or criminal, than have sufficed for them in their portraitures of gentleness and virtue. Look at all the Judiths, and the Lucretias, and the Charlotte Cordays; how much finer the women are than the Madonnas and the Saint Cecilias."
"After that, Clara, you need not scruple to be a Jael," said Mrs. Broughton.
"But I do scruple,—very much; so strongly that I know I never shall do it. In the first place I don't know why Mr. Dalrymple wants it."