Evening journal., 1922-11-25
cAPTER II

CAPTER II
The American broke in. HI
voice was no longer restrained. g
don't see what you've got to d
with It." he said.
Monsieur Jonauelle did not az ono
reply. He looked at his cigaret
tough Il were somehow unsattsfac
tory; puffed Il a moment until IN
tip rlowed; then he tossed st owe
the edge of the terrace into tn
bushes.
Almost Immediately the bushe
parted and two persons came up on
TO the terrace. They were footmei
in a rather conspicuous foreign hv
cry. They paid no attention 20 eithe
Monsieu Jonquelle or the American
They addressed themselves with
apoloEetic difndence 20 the woman II
the chair.
They explained that a parrot be
longing to the Princess Kitzenzof
who occupied the great villa above
had escaped and was concealed
somewhere in the thick shrubbery o
madame's garden. Would they b'
be permitted 10 search for Il? Th'
woman in the >halr moved her head
slowly in assent Then she dis
missed them with a gesture. They
went down of the terrace and to-
ward the rear OF the villa in their
search and the woman in the chair
addressed the American.
You must believe" she said,
that Monsieur Jonquelle Is an old
acauainance and that this explana-
ton is not to be denied him. Neither
are you 10 be denied it. You came
here for Il precisely as he has come
for g.
You have followed me here, trail
ling out my flight. as he has follow
ed. The two OF you arrived nearly
on the moment, and shall be
pleased to include the two OF you
in my explanation. You were de-
manding il as Monsieur Jonquelle
arrived-with some heat II I cor
rectly remember"
The American replied in his alb
rupt manner:
Il don't understand this thing"
he said. but I do want TO know
how this house happened TO burn
while I was absent. You are the
only person who had a key TO II, and
YOU must have burned it or you
would not have run away and hid
yourself-now. what's the story?"
The woman had a bit OF delicate
lace in her fingers. She put II up
moment 10 her lips. Then she
smoke. addressing her two guests.
Her voice was slow. serene, and de-
tached, like one who speaks without
Interest, without emotion and with
out interest, and without and con-
cern for effect. It was like a voice
from a mechanical appliance, hav-
ing inteliigance, but no will TO feel. |
i have been attached 70 Mon !
sieur Dlllard." ehe said. There was
a fortune before us, an immense, In
credible fortune. The anticipation OF
II bound me TO him. and 80 the burn
ing of this house must have been an |
accident. The lure OF a fortune is
the only influence that does not J.
loosen as one advances into life, in
world where presently every emo
ion fails. Therefore Monsieur Dill
lard had a right TO feel that he could
trust me, since my interest in this
fortune was identical with his own"
She paused, and seemed 20 address
Monsieur Jonquelle directly.
You viii be concerned monsieur
about the mystery Of this fortune.
L was no dream, and depended upon
no ucertsin hazard Of chance, Non
sieu billiard is an artisan artist
with a genius for turning art 70 a
practical use. There have been great
sr artists than Monsieur billiard inl
production, but not IN methods by
which art can be made TO serve a
practical purpose; that is 20 say can
be made 10 produce a fortune. Il is
the life-work OF Monsieur billiard
not to produce art, but TO bring the
artistic skill OF the masters OF art
to his practical purposes. And, IN
this department, he has no superior
in any country. The house in the
Faubourg St. German was in fact
a storeroom. Il was, at the time OF
its destruction by FIRE, literally
packed with masterpieoes-beauti
works OF art OF an incredible value"
She did not move the position OF
her body in the chair. But she again
vaguely touched her lips with ths
handkerchief in her fingers. a bit OF
Almy lace.
Monsieur. she said, there have
been In the world three men who
are supreme in what is perhaps the
highest Of all artistic production. !
shall name them 20 you; Monsieur
whistler, the American; Monsieur
HELEN OF Paris, and Wagenheim of
Munich"
She moved a trihe in the chair.
Then she went on.
The misfortune OF producing
masterpiece in oil or in water-color
i that. one copy only of this master
piece exists. and II by any misfor-
tune It is destroyed. every adequate
evidence Of its beauty has disappear
ed forever. This is the unfortunate
feature attached to the work OF all
the great masters.
But It is misfortune that does
not attend the etchings Of Monsieur
whistler. Monsieur Helleu, and Herr
Wagenheim. The beautiful face Of
the lovely Americans preserved by
the etchings of Monsieur Helleu can
he reproduced in any number. That
beauty does not depend upon the
Jeopardy of single picture"
Her voice seemed to advance, but
not with the stimulus OF any emo