It must at the same time be mentioned that he knew at moments the chill of intermissions, that he had more than once to shake himself in the lapse of faith. He saw during these revulsions but what he had seen before, the sharpest mere suggestion, no doubt, in the whole range of the effective art of suggestion. The young man looked away, but not from any embarrassment that he could produce. It wasn't what he hid that he thought of, but what he saw for himself. The practical snub to poor Ralph was thus that he looked away into a world of his own--off into the dark backward that at once so challenged and so escaped his successor. Just so his own was in his tremendous "pull" and reach, the fact of his positively living enjoyment of some relation or other, not to say some cluster of relations, that during those very minutes determined his considering air, and even, of a sudden, invested him with something of that effect which poor Ralph, wondering about great Italian church pictures and ruefully conscious of knowing them but by hearsay, imputed to the beauty and sincerity of the portrayed, the attentive donatorio in the corner of the Venetian or other masterpiece. What was the presence of the pious magnifico, say, but our very Ralph Pendrel's presence, not a little mixed, as he supposed that of the old-time devotee represented in the act to be, with the immemorial smoke of altar candles?--yet leaving the upper spaces, those where the sacred or the saintly image itself reigned, clear and sublime. The clearness, or call it even the sublimity, was here for all the world the same sort of thing: didn't it place round the handsome uplifted head, as by the patina of the years, the soft rub of the finger of time, that ring of mystic light? In the Titian, the Tintoret or the Veronese such a melting of the tone, such a magic as grew and grew for Ralph as soon as he once had caught the fancy of it, would have expressed the supernatural even as the circling nimbus expresses.