which, in the mother's sightless eyes, were magnified a thousandfold. In the following year a picture by a famous painter was exhibited in the Paris _salon_; it was entitled "A Jewish Mother," and represented a woman sitting beneath a cherry tree in flower, with two young children gambolling on the turf at her feet. In the background were two men, the curé of the village and a Jew, the latter being the woman's husband, and looking like a modern Moses. The faces of the men--one full-fleshed, with massive features and a grand beard, the other spare and lean, with thin, clear-cut features and a close-shaven face--formed a fine contrast. But although the points of this contrast were brought out in masterly fashion, and although the rustic scene was full of beauty, the supreme attraction of the picture lay in the woman. In her sightless eyes dwelt the spirit of peace and purity, and there was an angelic sweetness and resignation in her face as, with head slightly inclined, she listened to the prattle of her children. You could almost hear a sigh of happiness issue from her lips. The woman's face photographed itself upon the minds of all who beheld it, and it is not too much to say that it carried with it an influence for good. Years afterwards, when their visit to the _salon_ was forgotten, it made itself visible to their mind's eye, and always with beneficial suggestion. So it is also with a pure poem or story; the impression it leaves is an incentive to kindly act and tolerant judgment; it softens, it ameliorates, it brings into play the higher attributes of human nature, and in its practical results a benefit is conferred equally upon the sufferer by the wayside and the Samaritan who pours oil upon his wounds. The critics were unanimous in their praises of the picture. "Who is the woman?" they asked, and no one could answer the question except the painter, and he held his tongue.