The esteem in which he was held was to be demonstrated by two presentations, one a portrait of himself by a famous English artist, the other a picture also, the subject being withheld from his knowledge. This second painting was no other than the picture of Rachel sitting beneath the cherry tree, which had created so much interest in the Paris _salon_ more than a dozen years ago. It had originally been purchased by a collector, who had lately died. After his death his collection had been brought to the hammer, and this particular picture was purchased by a London dealer, who exhibited it in his shop. The first intention was to present a silver memorial with Aaron's portrait, but a friend of his happened to see the French picture in London, and was struck by the wonderful resemblance of the principal figure to Rachel. He made inquiries privately of Aaron respecting his sojourn in the south of France, and learned that there was a picturesque cherry tree in the grounds at the back of the house, in the shadow of which Rachel was in the habit of sitting in sunny weather, that he had a friend, the curé of the village, and that one summer a French painter had visited the village and had made a number of sketches of Rachel and the garden. Following up his inquiries, Aaron's friend obtained from the London dealer some information of the history of the picture and of the year in which it was exhibited, and, putting this and that together, he came to the conclusion that Rachel had unconsciously sat for the picture. It was an interesting discovery, and the first idea of a silver presentation was put aside, and the picture substituted in its place.