“The wished for dream occurred precisely as on the two previous nights, and I remember making a most earnest endeavor to photograph the wonderful model upon my memory--an effort in which I was only too successful. When I awoke, my model was so vividly pictured in my mind that the work of reproducing her upon canvas was no more difficult than if her living form had been actually before me. “And then came the disaster of my life. It was the story of Pygmalion and Galatea over again. I began my work with the enthusiasm of the artist, and completed it with the ardor of the man. I fell in love with my own creation! The self-confessed misogynist, who had never been susceptible to the real in womankind, became enslaved by an ideal from dreamland which my brush had metamorphosed into something material. I finally became intoxicated with the idea that my model must herself have a material being; that the feminine perfection I had seen in the vision was but the dream picture of a real personage--a fair woman who actually lived in the flesh! “My picture was done! It was destined to be my last and, like the song of the dying swan, it was my masterpiece. But I had no longer a thought of the exhibition. I became infatuated with the idea that through some occult and mysterious influence I had had the opportunity of utilizing as a model the fairest of womankind. It was not by her own volition that she became my model. To hang her picture at the exhibition would be a crime. The most beautiful model in the whole world should not be gazed upon by the vulgar herd. She was mine, and mine alone. She was real; she lived, and one day we should meet, and then-- “Ah, me! Was it not thus that Aphrodite breathed the spark of life, the material essence of reality into the ivory form of Galatea? Such is the power of that worship of the ideal that the Philistine calls love, over the human heart! “There is little more to be told. My picture became a shrine at which I worshipped by day and dreamed by night. Its possession was happiness. The failure to find the original was the acme of misery. I lost all interest in the art that had created the painting, and the very thought of devoting the talent which had developed my ideal to subjects that must ever be less worthy became abhorrent to me. My all of art, my all of life, my loftiest aspirations were there in the beautiful painting, the model for which had come to me in my dreams. “Ah, my dear doctor!” exclaimed Parkyn, as he extended his hand imploringly towards me, “do not laugh at me. Be something more than a man of science, something more than a materialist, and do not discourage me when I say that I know that my ideal lives, know that somehow, somewhere, I am to meet her! “You have heard my story, my dear friend. You are the first to whom I have told it, and shall be the last.”