Rembrandt The Return of the Prodigal Son painting

Rembrandt The Return of the Prodigal Son painting
Pierre-Auguste Cot Springtime painting
There was one way and only one in which he offended the susceptibilities of his co-religionists. No argument or persuasion could ever induce him to set up a female establishment after the manner of his companions. He never gave reasons for this persistent refusal, but contented himself by resolutely and inflexibly adhering to his determination. There were some who accused him of lukewarmness in his adopted religion, and others who put it down to greed of wealth and reluctance to incur expense. Others, again, spoke of some early love affair, and of a fair-haired girl who had pined away on the shores of the Atlantic. Whatever the reason, Ferrier remained strictly celibate. In every other respect he conformed to the religion of the young settlement, and gained the name of being an orthodox and straightwalking man.
Lucy Ferrier grew up within the log-house, and assisted her adopted father in all his undertakings. The keen air of the mountains and the balsamic odour of the pine trees took the place of nurse and mother to the young girl. As year succeeded to year she grew taller and stronger, her cheek more ruddy and her step more elastic. Many a wayfarer upon the high road which ran by Ferrier's farm felt long-forgotten thoughts revive in his mind as he watched her lithe, girlish figure tripping through the wheatfields, or met her mounted upon her