# Scribner's Magazine/Volume 31/Number 6/The Day Shall Declare It

Accompanying illustrations may be omitted.
THE DAY SHALL DECLARE IT
By Jennette Lee
Illustrations by F. V. DuMond
The woman seated in the light of the low, arched window was absorbed in the piece of linen stretched on a frame before her. As her fingers hovered over the brilliant surface, her eyes glowed with a look of satisfaction and lighted the face, making it almost handsome. It was a round, smooth face, untouched by wrinkles, with light-blue eyes—very near the surface—and thin, curved lips.
She leaned back in her chair to survey her work, and her lips took on a deeper curve. Then they parted slightly, and her face, with a look of listening, moved toward the door.
The young man who entered nodded carelessly as he threw back the blue-gray cloak that hung about his shoulders and advanced into the room.
She regarded the action coldly. "I have been waiting, Albrecht." She spoke the words slowly. "Where have you been?"
"I see." He untied the silken strings of the cloak and tossed it from him. "I met Pirkheimer—we got to talking."
The thin lips closed significantly. She made no comment.
The young man crossed the room and knelt before a stack of canvases by the wall, turning them one by one to the light. His full lips puckered in a half-whistle, and his eyes had a dreamy look.
The woman had returned to her work, drawing in the threads with swift touch.
As the man rose to his feet her eyes flashed a look at the canvas in his hand. They fell again on her work, and her face ignored him.
He placed the canvas on an easel and stood back to survey it. His lips whistled softly. He rummaged again for brushes and palette, and mixed one or two colors on the edge of the palette. A look of deep happiness filled his absorbed face.
She lifted a pair of scissors and snipped a thread with decisive click. "Are you going on with the portrait?" she asked. The tone was clear and even, and held no trace of resentment.
He looked up absently. "Not to-day," he said. "Not to-day." His gaze returned to the easel.
The thin lips drew to a line. They did not speak. She took off her thimble and laid it in its velvet sheath. She gathered up the scattered skeins of linen and silk, straightening each with a little pull, and laid them in the case. She stabbed a needle into the tiny cushion and dropped the scissors into their pocket. Then she rose deliberately, her chair scraping the polished boards as she pushed it back from the frame.
He looked up, a half-frown between the unseeing eyes.
She lifted the embroidery-frame from its rest and turned toward the door. "I have other work to do if I am not to pose for you," she said, quietly.
He made no reply.
Half way to the door she paused, looking back. "Herr Mündler was here while you were out. We owe him twenty-five guldens. It was due the fifth." She spoke the words crisply. Her face gave no sign of emotion.
He nodded indifferently. "I know. I shall see him." The soft whistle was resumed.
"There is a note from the Rath, refusing you the pension again." She drew a paper from the work-box in her hand and held it toward him.
He turned half about in his chair. "Don't worry, Agnes," he said. The tone was pleading. He did not look at the paper or offer to take it. His eyes returned to the easel. A gentle light filled them.
She dropped the paper into the box, a smile on her lips, and moved toward the easel. She stood for a moment, looking from the pictured face of the Christ to the glowing face above it. Then she turned again to the door. "It's very convenient to be your own model," she said, with a laugh. The door clicked behind her.
He sat motionless, the grave, earnest eyes looking into the eyes of the picture. Now and then he stirred vaguely. But he did not lift his hand or touch the brushes beside it. Gazing at each other, in the fading light of the low window, the two faces were curiously alike. There was the same delicate modelling of lines, the same breadth between the eyes, the long, flowing locks, the full, sensitive lips, and in the eyes the same look of deep melancholy—touched with a subtle, changing, human smile that drew the beholder. It disarmed criticism and provoked it. Except for the halo of mocking and piercing thorns, the living face might have been the pictured one below it. The look of suffering in one was shadowed in the other.
There was a light tap at the door and it flew open.
The painter looked up quickly. The tense, earnest gaze broke into a sunny smile. "Pirkheimer!" He sprang to his feet. "What now?"
The other man came leisurely across the room, his eyes on the easel. He nodded toward it approvingly.
"Wanted to see it," he said. His eyes studied the picture. "I got to thinking it over after you left me—I was afraid you might touch it up and spoil it—I want it just as it is." His eyes sought his companion's face.
The painter shook his head. "I don't know—not yet—you must leave it with me. It's yours. You shall have it—when it's done."
"It's done now," said the other, brusquely. "Here—sign." He picked up a brush and, dipping it into a soft color on the palette, handed it to the painter.
He took it doubtfully between his fingers, his eyes on the face. Slowly his hand moved toward the canvas. It traced rapidly, below the flowing locks, a huge, uncouth A; then, more slowly, within the sprawling legs of the A, a shadowy D; and finally, at the top, above them both, in tiny figures, a date—1503. The brush dropped from his fingers and he stepped back with a little sigh.
His companion reached out his hand. "That's all right," he said, "I'll take it."
The artist interposed a hand. "Not yet," he said.
"It's mine," replied the other. "You said it."
"Yes, I said it—not yet."
The other yielded with a satisfied smile. His hand strayed to the purse hanging at his side. "What's to pay?—Tell me."
The artist shook his head. "I would not sell it—not even to you," he said. His eyes were on the canvas.
"But it's mine!"
"It's yours—for friendship's sake."
The young man nodded contentedly. Then a thought struck across his face. "You'll tell Agnes that?" he said, quickly.
"Ay, I'll tell Agnes—that it's yours. But not what you paid for it," added the painter, thoughtfully.
"No, no, don't tell her that." The young man spoke quickly. His tone was half-jesting, half-earnest. He stood looking at the two faces, glancing from one to the other with a look of baffled resentment. "A living shame!" he muttered under his breath.
The artist looked up quickly. "What?"
"Nothing." The young man moved vaguely about the room. "I wish to God, Dürer, you had a free hand!" he broke out.
The artist glanced inquiry. He held up his hand, moving the supple fingers with a little gesture of pride. "Isn't it?" he demanded, smiling.
The young man shook his head. His round face retained its look of dissent. "Marriage—for a man like you! Two hundred florins—for dowry!" He laughed scornfully.
His companion's face flushed. A swift look came into the eyes.
The other held out a deprecating hand. "I didn't mean it," he said. "Don't be angry."
The flush faded. The artist turned to the easel, taking up a brush, as if to seek in work a vent for his disturbed thought.
"You'll spoil it! " said Pirkheimer, quickly.
"I shall finish it," replied Dürer, without looking up.
The other moved restlessly about. "Well" (he gave a quick sigh), "I must go. Good-by, Dürer." He came and stood by the easel, holding out his hand.
The artist rose, the warm smile on his lips bathing his face. "Good-by, my friend." He held out his hand frankly.
Pirkheimer caught it in his. "We're friends?" he said.
"Always."
"And you will never want if I can help you."
"Never!" The tone was hearty and proud.
Pirkheimer turned away with a look of contentment. "I shall hold you to it," he said. "It is a promise."
"I shall hold you to it," laughed Dürer.
When the door had closed, he stood looking down at the picture. He moved once or twice across the room. Then he stopped before a little brazier, looking at it hesitatingly. He bent over and lighted the coals in the basin. He blew them with a tiny bellows till they glowed. Then he placed a pan above them and threw into it lumps of brownish stuff. When the mixture was melted, he carried it across to the easel and dipped a large brush into it thoughtfully. He drew it across the canvas. The track behind it glowed and deepened in the dim light. Slowly the picture mellowed under it. A look of sweet satisfaction hovered about the artist's lips as he worked. The liquid in the pan lessened and his brush moved more slowly. The mixture had deepened in tint and thickened. Wherever the brush rested a deep, luminous color sprang to meet it. It moved swiftly across the monogram—and paused. The artist peered forward uncertainly. The letters lay erased in the dim light. With another stroke of the brush—and another—they were gone forever.
The smile of satisfaction deepened on his lips. It was not conceit, nor humility, nor pride. One could not have named the sweetness that hovered in it—hauntingly.
He laid down the brush with a quick breath and sat gazing at the picture. It returned the gentle, inevitable look. He raised a finger to the portrait, speaking softly. "It is Albrecht Dürer—his work," he said under his breath. "None but a fool can mistake it. It shall speak for him forever."
II
For a quarter of a century the picture had rested, face to the wall, on the floor of the small, dark studio. Pirkheimer had demanded his treasure—sometimes with jests and sometimes with threats. But the picture had remained unmoved against the wall.
Journeys to Italy and to the Netherlands had intervened. Pirkheimer's velvet purse had been dipped into again and again. Commissions without number had been executed for him. Rings and stones and tapestries—carvings and stag-antlers, and cups and silks and velvet—till the Pirkheimer mansion glowed with color from the South and delicate workmanship from the North. Other pictures from Dürer's brush adorned its walls—grotesque monks and gentle Virgins. But the Face bided its time against the wall.
To-day—for the first time in twenty-five years—the Face of the Christ was turned to the light. The hand that drew it from its place had not the supple fingers of the painter. Those fingers, stiffened and white, lay upon a quiet breast—outside the city wall.
The funeral cortège had trotted briskly back, and Agnes Dürer had come directly to the studio, with its low, arched window, to take account of her possessions. It was all hers—the money the artist had toiled to leave her, the work that had shortened life, and the thousand Rhenish guldens in the hands of the most worthy Rath, the pictures and copperplates, the books he had written and the quaint curios he had loved—they were all hers, except, perhaps, the copperplates for Andreas. Her level glance swept them as she crossed to the canvas against the wall and lifted it to a place on the easel. She had often begged him to sell the picture. It was large and would bring a good price. Her eyes surveyed it with satisfaction. A look of dismay crossed the smooth face. She leaned forward and searched the picture eagerly. The dismay deepened to anger. He had neglected to sign it! She knew well the value of the tiny monogram that marked the canvases about her. A sound clicked in her throat. She reached out her white hand to a brush on the bench beside her. There would be no wrong done. It was Albrecht's work—his best work. Her eyes studied the modelling of the delicate, strong face—the Christ face—Albrecht's face—at thirty-three—had he looked like that? She stared at it vaguely. She moved away, looking about her for a bit of color. She found it and came again to the easel. She reached out her hand for the brush. A slip of paper tucked beneath the canvas caught her eye. She drew it out slowly, unfolding it with curious fingers. "This picture of the Christ is the sole property of my dear and honored friend, the Herr Willibald Pirkheimer. I have given it to him and his heirs to have and to hold forever. Signed by me, this day, June 8, 1503, in my home in Nürnberg, 15 Zisselstrasse, Albrecht Dürer."
She crushed the paper in firm fingers. A door had opened behind her. The discreet servant, in mourning garments, with downcast, reddened eyes, waited. "His Highness the Herr Pirkheimer is below, my lady."
For a moment she hesitated. Then her fingers opened on the bit of paper. It fluttered to the table and lay full in sight. She looked at it with her thin smile.
"Ask Herr Pirkheimer to ascend to the studio. I shall receive him here," she said.
He entered facing the easel. With an exclamation he sprang forward. He laid a hand on the canvas. The small eyes blinked at her.
She returned the look coldly.
"It is mine!" he said.
She inclined her head, with a stately gesture, to the open paper on the table beside her.
He seized it in trembling fingers. He shook it toward her. "It is mine. You see—it is mine!"
"It is yours, Herr Pirkheimer." She spoke with level coolness. "I had read the paper."
With a grunt of satisfaction, he turned again to the canvas. A smothered oath broke from his lips. He leaned forward, incredulous. His round eyes, bulging and blue, searched every corner. They fell on the wet brush and bit of color. He turned on her fiercely. "Jezebel!" he hissed, "you have painted it out. I saw him sign it—years ago—twenty-five years!"
She smiled serenely. "It may have been some other one," she said sweetly. Her glance took in the scattered canvases.
He shook his head savagely. "I will have no other," he shouted; "I should know it in a thousand."
"Very well." Her voice was as tranquil as her face. "Shall I have it sent to the house of the honored Herr Pirkheimer?"
He glared at her. "I take it with me," he said. "I do not trust it out of sight."
She bowed in acquiescence. Standing in her widow's garments, with downcast eyes and gentle resignation, she waited his withdrawal.
He eyed her curiously. The years had touched her lightly. There were the same plump features, the same surface eyes, and light, abundant bands of hair. He heaved a round sigh. He thought of the worn face outside the city wall. He gathered the canvas under his arm, glaring about the low room. "There was a pair of antlers," he muttered. "They might go in my collection. You will want to sell them."
The downcast eyes did not leave the floor. "They are sold," she said, "to Herr Umstätter." A little smile played about the thin lips.
"Sold! Already!" The round eyes bulged at her. "My God!" he shouted fiercely, "you would sell his very soul, if he had left it where you could!"
She raised the blue eyes and regarded him calmly. "The estate is without condition," she said.
He groaned as he backed toward the door. The canvas was hugged under his arm. At the door he paused, looking back over the room. His small eyes winked fast, and the loose mouth trembled.
"He was a great man, Agnes," he said, gently. "We must keep it clean—the name of Dürer."
She looked up with a little gesture of dismissal. "It is I who bear the name," she said, coldly.
When he was gone she glanced about the room. She went over to a pile of canvases and turned them rapidly to the light. Each one that bore the significant monogram she set aside with a look of possession. She came at last to the one she was searching. It was a small canvas—a Sodom and Gomorrah. She studied the details slowly. It was not signed. She gave a little breath of satisfaction, and took up the brush from the bench. She remembered well the day Albrecht brought it home, and his childish delight in it. It was one of Joachim Patenir's. Albrecht had given a Christ head of his own in exchange for it. The brush in her fingers trembled a little. It inserted the wide-spreading A beneath Lot's flying legs, and overtraced it with a delicate D. She paused a moment in thought. Then she raised her head and painted in, with swift, decisive strokes, high up in one corner of the picture, a date. It was a safe date—1511—the year he painted his Holy Trinity. There would be no one to question it.
She sat back, looking her satisfaction.
Seventy-five guldens to account. It atoned a little for the loss of the Christ.
III
The large drawing-room was vacant. The blinds had been drawn to shut out the glare, and a soft coolness filled the room. In the dim light of half-opened shutters the massive furniture loomed large and dark, and from the wall huge paintings looked down mistily. Gilt frames gleamed vaguely in the cool gloom. Above the fireplace hung a large canvas, and out of its depths sombre, waiting eyes looked down upon the vacant room.
The door opened. An old woman had entered. She held in her hand a stout cane. She walked stiffly across to the window and threw back a shutter. The window opened into the soft greenness of a Munich garden. She stood for a minute looking into it. Then she came over to the fireplace and looked up to the pictured face. Her head nodded slowly.
"It must be," she muttered, "it must be. No one else could have done it. But 400 years!"—she sighed softly. "Who can tell?"
Her glance wandered with a dissatisfied air to the other canvasses. "I would give them all—all of them—twice over—to know—" She spoke under her breath as she hobbled stiffly to a huge chair.
The door swung softly back and forth behind a young girl who had entered. She came in lightly, looking down at a packet of papers in her hand.
The old woman started forward. "What have ye found?" she demanded. She was leaning on the stout cane. She peered out of her cavernous eyes.
The girl crossed to the window and seated herself in the green light. Shadows of a climbing vine fell on her hair and shoulders as she bent over the papers in her hand. She opened one of them and ran her eye over it before she spoke.
"They were in the North room," she said, slowly. "In the big escritoire—that big, clumsy one—I've looked there before, but I never found them. I've been trying all day to make them out."
"What are they?" demanded the old woman.
"Papers, grandmamma," returned the girl, absently, "—letters and a sort of journal." Her eyes were on the closely written page.
"Read it," said the old woman, sharply.
"I can't read it, grandmamma." She shook back the soft curls with a little sigh. "It's queer and old, and funny—some of the words. And the writing is blurred and yellow.—Look." She held up the open sheet.
The keen old eyes darted at it. "Work on it," she said, brusquely.
"I have, grandmamma."
"Well—what did ye find?"
"It's a man—Will—Willi—" She turned to the bottom of the last page. "Willibald! That's it." She laughed softly. "Willibald Pirkheimer. Who was he?" she asked.
"One of your ancestors." The old mouth waited grimly.
"One of mamma's?"
"Your father's."
"He must have been a nice man," said the girl slowly. "But some of it is rather—queer."
The old woman leaned forward with a quick gesture. She straightened herself. "Nonsense!" she muttered. "Read it," she said aloud.
"This is written to Albrecht Dürer," said the girl, studying it, "in Italy."
The old woman reached out a knotted hand. "Give it to me," she said.
The girl came across and laid it in her hand. The knotted fingers smoothed it. The old eyes were on the picture above the mantel. "Will it tell?" she muttered.
"There are others, grandmamma." The girl held up the packet in her hand.
"What have ye made out?" The old hand closed upon them.
"He was Dürer's friend," said the girl. "There are letters to him—five or six. And he tells about a picture—in the journal—a picture Albrecht Dürer gave to him." She glanced down at the wrinkled, working face. "It was unsigned grandmamma—and it was the head of the Saviour."
The old woman's throat moved loosely. Her hands grasped the stout cane.
With a half-sigh, she rose to her feet and tottered across the room. "Fool—fool—" she muttered, looking up to the mystical, waiting face. "To leave no mark—no sign—but that!" She shook the yellow papers in her hand.
A question shot into the old eyes. She held out the papers.
"What was it dated, Marie?—that place in the journal—look and see."
The girl took the papers and moved again to the window? She opened one and smoothed it thoughtfully, running her eye along the page. She shook her head slowly, "There is no date, grandmamma," she said. "But it must be after Dürer's death. He speaks of Frau Dürer—" A smile shaded her lips. "—He doesn't like her very well, I think. When did Dürer die, grandmamma?" She looked up from the paper.
"April 6, 1528," said the old woman, promptly.
The girl's eyes grew round and misty. "Four hundred years ago—almost," she murmured, softly. She looked down, a little awed, at the paper in her hand.
"It is very old," she said.
The old woman nodded sharply. Her eyes were on the papers. "Take good care of them," she croaked; "they may tell it to us yet."
She straightened her bent figure and glanced toward the door.
A wooden butler was bowing himself to the floor. "The Herr Doctor Professor Polonius Holtzenschuer," he announced, grandly.
Drawn by F. V. DuMond.
With another stroke of the brush .... they were gone forever.—Page 701.
A dapper young man with trim mustaches and spotless boots advanced into the room.
The girl by the window swayed a breath. The clear color had mounted in her cheek.
The old woman waited, immovable. Her hands were clasped above the stout cane and her bead-like eyes surveyed the advancing figure.
At two yards distance it paused. The heels came together with a swift click. He bowed in military salute.
The old woman achieved a stiff courtesy and waited. The dim eyes peered at him shrewdly.
"I have the honor to pay my respects to the Baroness von Herkomer," said the young man, with deep politeness.
The Baroness assented gruffly. She seated herself on a large divan, facing the picture, and motioned with her knotted hand to the seat beside her.
The young man accepted it deferentially. His eyes were on a bowed head, framed in shadows and leaves across the room.
"I trust the Fräulein Marie is well?" he said, promptly.
"Marie——"
The girl started vaguely.
"Come and greet the Herr Doctor Holtzenschuer."
She rose lightly from her place and came across the room. A soft curl, blown by the wind, drifted across her flushes as she came.
The young man sprang to his feet. His heels clicked again as he bent low before her.
She descended in a shy courtesy and glanced inquiringly at her grandmother.
The old woman nodded curtly. "Go on with your papers," she said.
The girl turned again to the green window. Her head bowed itself above the papers.
The young man's eyes followed them. He turned to the old woman beside him. "Is it something about—the picture?" he asked.
She nodded sharply. "Private papers of Willibald Pirkheimer," she said, "ancestor of the von Herkomers—sixteenth century. He was a friend of Durer's." Her lips closed crisply on the words.
He looked at her, a smile under the trim mustaches. "You hope they will furnish a clew?" he asked, tolerantly.
She made no reply. Her wrinkled face was raised to the picture.
"You have one Dürer." He motioned toward a small canvas—"Is it not enough?"
Her eyes turned to it and flashed in disdain. "The Sodom and Gomorrah!" She spoke scornfully. "Not so much as a copy!"
"It is signed."
She glanced at it again. There was shrewd intolerance in the old eyes. "Do you think I cannot tell?" she said, grimly. "I know the work of Albrecht Dürer, length and breadth, line for line. You say he painted that!" She pointed a swift finger at the picture across the room. "Have ye looked at Lot's legs?" Her laugh cackled softly.
The young man smiled under his mustaches.
The Baroness had turned again to the picture over the fireplace. "But that—" she murmured softly, "It is signed in every line—in the eyes, in the painting of the hair, in the sweep from brow to chin. It will yet be found," she said under her breath. "It shall be found."
He looked at her, smiling. Then he raised his eyes politely to the picture. A slow look formed behind the smile. He half started, gazing intently at the deep, painted canvas. His glance strayed for a second to the green window, and back again to the picture.
The old Baroness roused herself with a sigh. She turned toward him. "Your dissertation has brought you honor, they tell me," she said, looking at him critically.
He acknowledged the remark with a bow. "It is nothing," he said, indifferently. "Only a step toward molecules and atoms."
The Baroness smiled grimly. "I don't understand chemical jargon," she said, in a dry tone. "I understand you are going to be famous."
The young man bowed again, absently. He glanced casually at the picture above the fireplace. "What would you give to know"—he nodded toward it—"that it is a genuine Dürer?"
The shrewd eyes darted at him.
Drawn by F. V. DuMond.
"To know that Albrecht Durer's monogram belongs there."—Page 708
The clean-cut face was compact and expressionless.
"Give? I would give"—her eye swept the apartment, with its wealth of canvas and gilt and tapestry—"I would give all, everything in the room"—she raised a knotted hand toward the picture—"to know that Albrecht Dürer's monogram belongs there." The pointing finger trembled a little.
He looked at it reflectively. Then his glance travelled about the great room. "Everything in this room," he said, slowly. "That means—" He paused, glancing toward the window.
The young girl had left her seat. The papers had dropped to the floor. She was leaning from the casement to pick a white rose that swayed and nodded, out of reach.
He waited a breath. Her fingers closed on it and she sank back in her chair, smiling, the rose against her cheek.
The eyes watching her glowed softly. "Everything in this room—" He spoke very low. "The One with the rose?"
The old face turned to him with a look. The heavy jaw dropped and forgot to close. The keen eyes scanned his face. The jaws came together with a snap. She nodded to him shrewdly.
The young man rose to his feet. The cynical smile had left his face. It was intent and earnest. He looked up for a moment to the picture, and then down at the wrinkled, eager face. "To-morrow, at this time, you shall know," he said, gravely.
The old eyes followed him, half in doubt, half in hope. They pierced the heavy door as it swung shut behind him.
The stiff, dapper figure had crossed the hall. The outer door clanged.
Against the green window, within, the soft curls and gentle, questioning eyes of the Fräulein Marie waited. As the door clanged, a rose was laid lightly to her lips and dropped softly into the greenness below.
IV
At a quarter to ten the next morning a closed carriage drew up before the heavy gate. A dapper figure pushed open the door and leaped out. It entered the big gateway, crossed a green garden, and, the next moment, was ushered into the presence of the Baroness von Herkomer.
She stood beneath the picture, her eyebrows bent, her lips drawn, and her hands resting on the stout cane.
"Will you come with me?" he asked, deferentially.
"Where to?"
He hesitated. "You will see. I cannot tell you—now. But I need you—with the picture." He motioned toward it.
She eyed him grimly for a second. Then she touched a bell.
The wooden butler appeared. "Send Wilhelm," she commanded.
Half an hour later the Herr Doctor Holtzenschuer was handing a bundled figure into the closed carriage that stood before the gate. A huge, oblong package rested against a lamp-post beside him, and near it stood the Fräulein Marie, rosy and shy. The young man turned to her with, a swift gesture.
"Come," he said.
He placed her beside her grandmother, and watched carefully while the heavy parcel was lifted to the top of the carriage. With an injunction to the driver for its safety, he turned to spring into the carriage.
The voice of the Baroness, from muffled folds, arrested him.
"You will ride outside with the picture," it said. "I do not trust it to a driver."
With a bow he slammed to the carriage-door and mounted the box. In another minute the Herr Doctor Professor Holtzenschuer was driving rapidly through the streets of Munich, on the outside of a common hack, a clumsy parcel balanced awkwardly on his stiff shoulders.
From the windows below, on either side, a face looked out upon the flying streets—a fairy with gentle eyes and a crone with toothless smile.
"The Pinakotek!" grumbled the old woman. "Does he think anyone at the Pinakothek knows more of Albrecht Dürer than Henriette von Herkomer?" She sniffed a little and drew her folds about her.
Past the Old Pinakothek rolled the flying carriage—on past the New Pinakothek. An old face peered out upon the marble walls, wistful and suspicious. A mass of buildings loomed in view.
Drawn by F. V. DüMond.
The great picture gathered to itself shape, and glowed.—Page 710.
"The university," she muttered under her breath. "Some upstart herr professor to tell me of Albrecht Dürer! Fool—fool!" She croaked softly in her throat.
"The Herr Doctor is a learned man, grandmamma—and a gentleman," said a soft voice beside her.
"A gentleman can be a fool," returned the old woman, tartly. "What building is this?"
The carriage had stopped before a low, square doorway.
"It is the chemistry laboratory, grandmamma," said the girl, timidly.
The old woman leaned forward, gray with rage, pulling at the closed door. "Chemistry lab—" Her breath came in pants. "He will—destroy—burn—melt it!" Four men lifted down the huge parcel from the carriage and turned toward the stone door. "Stop!" she gestured wildly to them.
The door flew open. The young scientist stood before her, bowing and smiling. She shook a knotted finger at him. "Stop those men!" she cried, sternly.
At a gesture the men waited. She descended from the carriage, shaking and suspicious, her cane tapping the pavement before her. The Fräulein Marie leaped lightly down after her. Her hand had rested for a moment on the young man's sleeve. A white rose trembled in the fingers. His face glowed.
"Is your Highness ready?" he asked. He had moved to the old woman's side.
She was standing, one hand on the wrapped parcel, the other on her stout cane, peering suspiciously ahead.
"Is your Highness ready?" he repeated.
"Go on," she said, briefly.
Four men were in the hall when they entered—the director of the Old Pinakothek, the artist Adrian Kauffmann, the president of the university, and a young man with a scared, helpful face, who proved to be a laboratory assistant.
"They are your witnesses," murmured the young man in her ear.
She greeted them stiffly, her eyes on the precious parcel. Swiftly the wrappings were undone, and the picture lifted to a huge easel across the room. The light fell full upon it.
The witnesses moved forward in a body, silent. The old face watching them relaxed. She smiled grimly.
"Is it a Dürer?" she demanded. She was standing behind them.
They started, looking at her doubtfully. The artist shrugged his shoulders. He stepped back a little. The director shook his head with a sigh. "Who can tell?" he said softly. "The marks——"
The Baroness's eyes glowed dangerously. "I did not suppose you could tell," she said, curtly.
The young scientist interposed. "It is a case for science," he said, quickly. "You shall see—the Roentgen rays will tell. The shutters—Berthold."
The assistant closed them, one by one, the heavy wooden shutters. A last block of light rested on the shadowy picture. A last shutter swung into place. They waited—in darkness. Someone breathed quickly, with soft, panting breath. Slowly a light emerged through the dark. The great picture gathered to itself shape, and glowed. Light pierced it till it shone with strokes of brushes. Deeply and slowly in the bluish Patina, at the edge of the flowing locks, on the shoulder of the Christ, a glimmer of shadow traced itself, faintly and unmistakably.
Confused murmurs ran through the darkness—the voice of the director—a woman's breath.
"Ready, Berthold." It was the voice of the Herr Doctor.
There was a little hiss, a blinding flash of light, the click of a camera, and blackness again.
A shutter flew open.
In the square of light an old woman groped toward the picture. Her knotted hands were lifted to it.
Close at hand, a camera tucked under his arm, the laboratory assistant stood—on his round, practical face the happy look of successful experiment.
A little distance away the Herr Doctor Professor moved quickly. The one with the rose looked up.
High above them all—on the great easel, struck by a ray of light from the shutter—the Dürer face of Sorrow—out of its four hundred years—looked forth and waited in the modern world.
This work is in the public domain in the United States because it was published before January 1, 1929.
The longest-living author of this work died in 1951, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 72 years or less. This work may be in the public domain in countries and areas with longer native copyright terms that apply the rule of the shorter term to foreign works.
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