Portraits of the Mahatmas

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, 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 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. 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.

Laura C. Holloway

Reprinted from The Word (New York), July 1912, pp. 200-206.

From the memoirs of H.S.Olcott "Old diary leaves".

Another remarkable event was the arrival of Mr. Hermann Schmiechen, who, taking advantage of the presence of H.P.B. in Germany, decided with her help to make some clarifications in the portraits of Mahatma M. and K.H., painted by him earlier, in London. Before leaving, he added to his collection a portrait of H.P.B. (ODL, 1: 370-73). Olcott says that during his life in New York, he came across a profile portrait of Mahatma M. Despite the undoubted portrait resemblance, Olcott thought that he did not "reflect the greatness that should be illuminated by the face of the Adept" ( ODL, 3: 155). In London in the summer of 1884, he talked about this with some of his fellow artists, and they all agreed to try to create a portrait that Olcott hoped would be more in line with the original. To each he handed a photocopy of his Master's pencil profile. The results of this venture were "instructive" but not satisfactory. But soon Hermann Schmichen, a German artist who lived in London, joined the Theosophical Society, and to Olcott's delight, he immediately agreed to pass this "inspiring" test. It started on June 19 and finished on July 9. During this time, Olcott visited his studio several times, including once with H.P.B., and both of them expressed their satisfaction with the process of “gradual manifestation of the mental image, which was so vividly reflected in his imagination. The result of this work was a perfect portrait of my Guru, painted as if from nature ”(ODL, 3: 156). The portrait was painted en face (facing the beholder), and the artist tried to give his eyes so much expressiveness and strength, a reflection of their souls, that the viewer, looking at them, felt slightly impressed. It was, of course, a brilliant work, which, in my opinion, can serve as proof that the transmission of thoughts at a distance is still possible "(ibid.). After finishing work on this portrait, the artist also painted a portrait of Mahatma K.H.