The great trouble about painting a whole gallery of portraits at the same time is, that the housemaid comes and dusts, and does not put them back the way they were before, and so when the public flock to the studio and wish to know which is Howells and which is Depew and so on, you have to dissemble, and it is very embarrassing at first. Still, you know they are there, and this knowledge presently gives you more or less confidence, and you say sternly, “_This_ is Howells,” and watch the visitor’s eye. If you see doubt there, you correct yourself and try another. In time you find one that will satisfy, and then you feel relief and joy, but you have suffered much in the meantime; and you know that this joy is only temporary, for the next inquirer will settle on another Howells of a quite different aspect, and one which you suspect is Edward VII or Cromwell, though you keep that to yourself, of course. It is much better to label a portrait when you first paint it, then there is no uncertainty in your mind and you can get bets out of the visitor and win them. I believe I have had the most trouble with a portrait which I painted in installments--the head on one canvas and the bust on another. [Illustration: THE HEAD ON ONE CANVAS] The housemaid stood the bust up sideways, and now I don’t know which way it goes. Some authorities think it belongs with the breastpin at the top, under the man’s chin; others think it belongs the reverse way, on account of the collar, one of these saying, “A person can wear a breastpin on his stomach if he wants to, but he can’t wear his collar anywhere he dern pleases.” There is a certain amount of sense in that view of it. Still, there is no way to determine the matter for certain; when you join the installments, with the pin under the chin, that seems to be right; then when you reverse it and bring the collar under the chin it seems as right as ever; whichever way you fix it the lines come together snug and convincing, and either way you do it the portrait’s face looks equally surprised and rejoiced, and as if it wouldn’t be satisfied to have it any way but just that one; in fact, even if you take the bust away altogether the face seems surprised and happy just the same--I have never seen an expression before, which no vicissitudes could alter. I wish I could remember who it is. It looks a little like Washington, but I do not think it can be Washington, because he had as many ears on one side as the other. You can always tell Washington by that; he was very particular about his ears, and about having them arranged the same old way all the time. [Illustration: AND THE BUST ON ANOTHER]