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Philip Malbone's was that perilous Rousseau-like temperament, neither sincere enough for safety, nor false enough to alarm; the winning tenderness that thrills and softens at the mere neighborhood of a woman, and fascinates by its reality those whom no hypocrisy can deceive. It was a nature half amiable, half voluptuous, that disarmed others, seeming itself unarmed.
A slight murmuring from above dispelled it; she must first reconnoitre a few steps farther. As she ascended a little way, a gleam shone upon her, and down the damp stairway came a fragrant odor, as from some perfumed chamber. Then a door was shut and reopened. Eager beyond expression, she followed on. Another step, and she stood at the door of Malbone's apartment.
The room was brilliant with light; the doors and windows were heavily draped. Fruit and flowers and wine were on the table. On the sofa lay Emilia in a gay ball-dress, sunk in one of her motionless trances, while Malbone, pale with terror, was deluging her brows with the water he had just brought from the well below. Hope stopped a moment and leaned against the door, as her eyes met Malbone's.
She stopped to hear, but there was silence. It seemed to come from the direction of Malbone's room, which was in the third story. Again came the cry, more gently, ending in a sort of sobbing monologue. Gliding rapidly up stairs in the dark, she paused at Philip's deserted room, but the door was locked, and there was profound stillness.
At least, there had never been need for such solicitude before. Except for his genius for keeping his own counsel, every acquaintance of Malbone's would have divined the meaning of these reveries. As it was, he was called whimsical and sentimental, but he was a man of sufficiently assured position to have whims of his own, and could even treat himself to an emotion or so, if he saw fit.
And the hard but true lineaments of Holbein, the aërial grace of Malbone's "Hours," Albert Durer's mediaeval sanctities, Overbeck's conservative self-devotion, a market-place by Ostade, Reynolds's "Strawberry Girl," one of Copley's colonial grandees in a New England farmer's parlor, a cabinet gem by Greuze, a dog or sheep of Landseer's, the misty depths of Turner's "Carthage," Domenichino's "Sibyl," Claude's sunset, or Allston's "Rosalie," how much of eras in Art, events in history, national tastes, and varieties of genius do they each foreshadow and embalm!
"But then the Pasteur was short, and his brother was a dwarf." "When Lili found that she could reach the ceiling from Mr. Malbone's shoulder," said Emilia, "she asked no more." "Then you knew the pastor's family also, my child," said Aunt Jane, looking at her kindly and a little keenly. "I was allowed to go there sometimes," she began, timidly. "To meet her American Cousin," interrupted Philip.
We heard the turning of a key in a small lock; she has opened a secret drawer of an escritoire, and is probably looking at a certain miniature, done in Malbone's most perfect style, and representing a face worthy of no less delicate a pencil. It was once our good fortune to see this picture.
"Where will she strike?" "Price's Neck," said the sailor. Harry turned to Philip and spoke to him, shouting in his ear the explanation. Malbone's lips moved mechanically, but he said nothing. Passively, he let Harry take him by the arm, and lead him on. Following the sailor, they rounded a projecting point, and found themselves a little sheltered from the wind.
By the spell of contrast, another portrait rose up before her, painted with more daring flattery than any artist would have ventured upon, but yet so delicately touched that the likeness remained perfect. Malbone's miniature, though from the same original, was far inferior to Hepzibah's air-drawn picture, at which affection and sorrowful remembrance wrought together.
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