(Laura Holloway was a theosophist who had
developed her clairvoyance and was present when the portraitist Hermann
Schmiechen began to paint the portrait of Master Kuthumi, and in the
following article she recounts this event. Note: she expressed herself to the
third person.)
As had been promised by the Mahatmas, Mr. Schmiechen, a young German
artist then residing in London, was to paint their portraits. And, at the
appointed time, a number of Theosophists gathered at his studio. Chief among Mr.
Schmiechen's guests at that first sitting was H.P.B. who occupied a seat facing
a platform on which was his easel. Near him on the platform sat several
persons, all of them women, with one exception. About the room were grouped a
number of well-known people, all equally interested in the attempt to be made
by Mr. Schmiechen.
The most clearly defined memory of that gathering, always in the mind of
the writer [Laura Holloway], is the picture of Madame Blavatsky placidly smoking
cigarettes in her easy chair and two women on the platform who were smoking
also. She had "ordered" one of these women [Laura Holloway] to make a cigarette and smoke it, and the order was
obeyed though with great hesitation, for it was a first attempt and even the
mild Egyptian tobacco used was expected to produce nausea. H.P.B. promised that
no such result would follow, and encouraged by Mrs. Sinnett, who was also
smoking, the cigarette was lighted. The result was a curious quieting of
nerves, and, soon all interest was lost in the group of people about the room,
and only the easel and the hand of the artist absorbed her attention.
Strange to relate that though the amateur smoker considered herself an
onlooker it was her voice which uttered the word "beginner," and the
artist quickly began outlining a head. Soon the eyes of everyone present were
upon him as he worked with extreme rapidity.
While quiet reigned in the studio and all were eagerly interested in Mr.
Schmiechen's work, the amateur smoker on the platform saw the figure of a man
outline itself beside the easel and, while the artist with head bent over his
work continued his outlining, it stood by him without a sign or motion. She
leaned over to her friend and whispered: "It is the Master K.H.; he is being
sketched. He is standing near Mr. Schmiechen."
"Describe his looks and dress," called out H.P.B. And while
those in the room were wondering over Madame Blavatsky's exclamation, the woman
addressed said: "He is about Mohini's height; slight of build; wonderful
face full of light and animation; flowing curly black hair, over which is worn
a soft cap. He is a symphony in greys and blues. His dress is that of a Hindu —though
it is far finer and richer than any I have ever seen before— and there is fur
trimming about his costume. It is his picture that is being made, and he
himself is guiding the work."
Mohini, whom all present regarded with love and respect as the gifted
disciple of the revered Masters, had been walking slowly to and fro with his
hands behind him, and seemed absorbed in thought. Few noticed his movements,
for he was at the back part of the large apartment and his footsteps were
noiseless. But the amateur smoker had followed his movements with earnest
glances, for she was noting a similarity of form between the psychic figure of
the Master and himself, and, as well, a striking resemblance in their manner.
"How like the Master Mohini is," she confided to her friend
beside her; and, looking toward him she saw him watching her with an expression
of much concern on his face. Smiling back an assurance to him that she would
make no further revelations, she glanced toward the artist and caught the eyes of
the Master, who stood beside him.
The look was one she never forgot, for it conveyed to her mind the
conviction that her discovery was a genuine fact, and henceforth she felt
justified in believing the Mahatma K.H. and Mohini the chela, were more closely
related than she had before realized. In fact, that Mohini was nearer the
Master than all others in the room, not even excepting H.P.B. And, no sooner
was this conviction born in her mind than she encountered a swift glance of recognition
from the shadow form beside the easel, the first and only one he gave to anyone
during the long sitting.
(Note: Laura Holloway may have been wrong here as Mohini
failed in his discipleship.)
H.P.B.'s heavy voice arose to admonish the artist, one of her remarks
remaining distinctly in memory. It was this:
"Be careful, Schmiechen: do not make the face too round; lengthen
the outline, and take note of the long distance between the nose and the
ears." She sat where she could not see the easel, nor know what was on it.
All who are familiar with the copies of the two portraits of the Masters
painted by this artist, will recall the look of youth that is upon the face of K.
H. It is a look not of youthfulness, but of youth itself; not of youthful
inexperience and lack of years, but of life — full and abounding life that is ever
young, and of self-control so great as to control not only expression, but
nerves and muscles as well. Transparent seemingly as was his body, yet powerful
beyond the conception of those who have not seen on the astral plane, was the
mental and spiritual strength of man. A being in whom was fulfilled every ideal
men have conceived of-manhood glorified. A finished product in fact, upon whom
the privilege of resting one's sight was an inexpressible delight. No real
likeness of such a Being could ever be taken: could ever be more than a shadowy
outline of the Real Man.
How many of the number of those in the studio on that first occasion
recognized the Master's presence was not known. There were psychics in the
room, several of them, and the artist, Mr. Schmiechen, was a psychic, or he
could not have worked out so successfully the picture that was outlined by him
on that eventful day.
The painting of the portrait of the Master "M" followed the
completion of the picture; both were approved by H. P. B., and the two
paintings became celebrated among Theosophists the world over. They are a
source of inspiration to those who have had opportunity to study the wonderful
power and expression depicted in them by Mr. Schmiechen.
(The Word, July 1912, p.204-206)
No comments:
Post a Comment