“Nay, my Apelles, you might as well preserve some likeness.”
“Likeness, by Got! I vill make you like and handsome both. By my shoul you make me von Apelles, I vill make you von Alexander!”
“People in general,” said Tarleton, gravely, “believe that Alexander had a wry neck, and was a very plain fellow; but no one can know about Alexander like Sir Godfrey Kneller, who has studied military tactics so accurately, and who, if he had taken up the sword instead of the pencil, would have been at least an Alexander himself.”
“By Got, Meester Tarleton, you are as goot a judge of de talents for de war as Count Tevereux of de genie for de painting! Meester Tarleton, I vill paint your picture, and I vill make your eyes von goot inch bigger than dey are!”
“Large or small,” said I (for Tarleton, who had a haughty custom of contracting his orbs till they were scarce perceptible, was so much offended, that I thought it prudent to cut off his reply), “large or small, Sir Godfrey, Mr. Tarleton’s eyes are capable of admiring your genius; why, your painting is like lightning, and one flash of your brush would be sufficient to restore even a blind man to sight.”
“It is tamned true,” said Sir Godfrey, earnestly; “and it did restore von man to sight once! By my shoul, it did! but sit yourself town, Count Tevereux, and look over your left shoulder—ah, dat is it—and now, praise on, Count Tevereux; de thought of my genius gives you—vat you call it—von animation—von fire, look you—by my shoul, it does!”
And by dint of such moderate panegyric, the worthy Sir Godfrey completed my picture, with equal satisfaction to himself and the original. See what a beautifier is flattery: a few sweet words will send the Count Devereux down to posterity with at least three times as much beauty as he could justly lay claim to.*
* This picture represents the Count in an undress. The face is decidedly, though by no means remarkably, handsome; the nose is aquiline,—the upper lip short and chiselled,—the eyes gray, and the forehead, which is by far the finest feature in the countenance, is peculiarly high, broad, and massive. The mouth has but little beauty; it is severe, caustic, and rather displeasing, from the extreme compression of the lips. The great and prevalent expression of the face is energy. The eye, the brow, the turn of the head, the erect, penetrating aspect,—are all strikingly bold, animated, and even daring. And this expression makes a singular contrast to that in another likeness to the Count, which was taken at a much later period of life. The latter portrait represents him in a foreign uniform, decorated with orders. The peculiar sarcasm of the month is hidden beneath a very long and thick mustachio, of a much darker colour than the hair (for in both portraits, as in Jervas’s picture of Lord Bolingbroke, the hair is left undisguised by the odious fashion of the day). Across one cheek there is a slight scar, as of a sabre cut. The whole character of this portrait is widely different from that in the earlier one. Not a trace of the fire, the animation, which were so striking in the physiognomy of the youth of twenty, is discoverable in the calm, sedate, stately, yet somewhat stern expression, which seems immovably spread over the paler hue and the more prominent features of the man of about four or five and thirty. Yet, upon the whole, the face in the latter portrait is handsomer; and, from its air of dignity and reflection, even more impressive than that in the one I have first described.—ED.