Everybody paints the portrait of nobody. Imagine a great writer being called upon to produce a black-and-white picture of a man of no importance: Let us imagine, say Meredith, being offered a thousand pounds for a pen-and-ink portrait of a provincial mayor--being asked to devote his graphic art, his felicitous choice of words, his gifts of insight and sympathy, his genius, in a word, to the portrayal of a real live mayor--the same to be published in book-form, asked for at the libraries, and discussed at dinner-tables and in the reviews as a specimen of the season's art. Of course Meredith would tell the man to go and be hanged (in the Academy); but if he consented, see what would take place. The literary portrait involves, of course, both mind and body, and practically the work would have to take the shape of a biography. For some weeks the man would come to Meredith's study and give him talkings. At the first talking Meredith would also make a sketch of the outside appearance of his subject. Here the resources of language far exceed those of colour. The happy euphemism of language permits a squint to be described as an ambidexterity of vision; it is even quite possible to omit an ill-regulated feature altogether. Suppose an artist paints a man without a nose--the defect _sauterait aux yeux_: it would be as plain as the nose not upon his face. But it is quite possible for the literary artist to omit a man's nose without attracting any attention. The reader's imagination supplies the nose, without even being conscious of its purveyorship. As for the psychological portion of the portrait, the author would be entirely dependent on the information given by the subject, so that provincial mayors would develop unsuspected virtues. Where the difficulty would come in would be in the absence of darker qualities, which would make literary chiaroscuro impossible. It is quite likely, though, that as a result of the talkings the subject would unwittingly present the novelist with a real character who would appear in his next work of fiction, and be entirely unrecognized either by the reader of the biography or its subject. [Sidenote: Photography and Realism]