Our attempt at representing the vision was successful, although the tint of the robe and veil, the celestial radiance of the face, the splendor of the rays, must always remain an impossibility for art; as the good Sister, whilst declaring her satisfaction, betrayed by her tone of voice and expression the disappointment she felt at the impotency of human skill to depict the beauty of the celestial original.
Thirty-five years before, M. Aladel had vainly attempted a representation of the same apparition, as we learn from a curious fragment, a small design[10] representing the Immaculate Virgin holding the globe, etc., as described by Sister Catherine. His note directing the details is in exact conformity with the Sister's description, except in one particular, the blue mantle. But little satisfied with this attempt, which gave but a confused idea of the apparition, and his own especial impression of it, he relinquished the undertaking, and held to the known model.
We may say, with truth, that nothing can equal the beauty, the grace, the expression of tenderness depicted in the attitude of this Virgin, whose graciously downcast glances and hands, filled with blessings, proclaim her the Mother, inviting her little child to cast itself into her arms, or earnestly entreating the prodigal son to confide in her merciful mediation.
This image of the Immaculate Mother, universally admired and honored, has a mute eloquence which never fails to touch the heart; and, truly, may it ever be styled the miraculous Virgin. Were we to cite only those which have come to our knowledge, a volume would be insufficient to contain an account of all the wonderful conversions, cures, marks of protection, wrought since the appearance of this vision to the present day.
The production of new models, representing the Immaculate Virgin in a different attitude, should never supplant this, which is, as it were, the type of all others; nor weaken the devotion heretofore accorded it by popular gratitude.
