But inevitably to most readers who review the circumstances of a case so extraordinary, it will occur that beyond a doubt _many_ portraits of the adventurous nun must have been executed. To have affronted the wrath of the Inquisition, and to have survived such an audacity, would of itself be enough to found a title for the martial nun to a national interest. It is true that Kate had not taken the veil; she had stopped short of the deadliest crime known to the Inquisition; but still her transgressions were such as to require a special indulgence; and this indulgence was granted by a Pope to the intercession of a king--the greatest then reigning. It was a favor that could not have been asked by any greater man in this world, nor granted by any less. Had no other distinction settled upon Kate, this would have been enough to fix the gaze of her own nation. But her whole life constituted Kate's supreme distinction. There can be no doubt, therefore, that, from the year 1624 (that is, the last year of our James I.), she became the object of an admiration in her own country that was almost idolatrous. And this admiration was not of a kind that rested upon any partisan-schism amongst her countrymen. So long as it was kept alive by her bodily presence amongst them, it was an admiration equally aristocratic and popular,--shared alike by the rich and the poor, by the lofty and the humble. Great, therefore, would be the demand for her portrait. There is a tradition that Velasquez, who had in 1623 executed a portrait of Charles I. (then Prince of Wales), was amongst those who in the three or four following years ministered to this demand. It is believed, also, that, in travelling from Genoa and Florence to Rome, she sat to various artists, in order to meet the interest about herself already rising amongst the cardinals and other dignitaries of the Romish church. It is probable, therefore, that numerous pictures of Kate are yet lurking both in Spain and Italy, but not known as such. For, as the public consideration granted to her had grown out of merits and qualities purely personal, and was kept alive by no local or family memorials rooted in the land, or surviving herself, it was inevitable that, as soon as she herself died, all identification of her portraits would perish: and the portraits would thenceforwards be confounded with the similar memorials, past all numbering, which every year accumulates as the wrecks from household remembrances of generations that are passing or passed, that are fading or faded, that are dying or buried. It is well, therefore, amongst so many irrecoverable ruins, that, in the portrait at Aix-la-Chapelle, we still possess one undoubted representation (and therefore in some degree a means for identifying _other_ representations) of a female so memorably adorned by nature; gifted with capacities so unparalleled both of doing and suffering; who lived a life so stormy, and perished by a fate so unsearchably mysterious.