"But it is very seldom you see portraits of children, that are really child-like," observed Elinor. "And then what a trial, to paint a pretty, innocent little creature, in full dress, starched and trim!"
"Children are charming subjects when properly treated; I delight in such pictures," said Mary Van Alstyne.
"You would have been often delighted then, in Italy, Miss Van Alstyne. Raphael's cherubs are as perfect in their way, as his men and women."
{"Raphael's cherubs" = While living in Florence in 1829, James
Fenimore Cooper and his family admired the "Madonna del
Baldacchino" (sometimes called "La Madonna del Trono") by Raphael
(Italian painter, 1483-1520), at the Pitti Palace, and especially
the two singing angels ("perhaps I should call them cherubs) at
the foot of the throne. He commissioned the American sculptor
Horatio Greenough (1805-1852) to sculpt for him a group called
"The Chanting Cherubs," based the angels or cherubs}
Mrs. Hilson, unwilling to be thrown out of the conversation, again addressed Elinor.
"When you joined us, Miss Wyllys, we were speaking of the fire opposite your hotel. Were you not dreadfully alarmed? I hear you were there; although I did not find you at home when I called."
"We were disturbed, of course; but I can't say that we were personally alarmed. The wind, you may remember, carried everything in the opposite direction."
"Did it? Well, I was too much frightened to notice anything; you know it was in the same block as our boarding-house."
"Yes; you were nearer the danger than we were."
"Oh, I was dreadfully frightened. There was one of our ladies wanted to persuade me to look at Trinity Church, lighted up by the fire; I believe she really thought it a fascinating sight. Here comes a gentleman who was staying at your hotel, and has not got over his fright yet; it is one of my escorts—I have two, the Baron and this gentleman; but the Baron is not on deck now—let me introduce you; Monsieur Bonnet, Miss Wyllys. I do believe, Monsieur Bonnet, you were as much alarmed as I was."