The result of Eden Kineagie's visit to the house in Cambridge Avenue was the immediate transference of the canvas to Sotheby's Sale Rooms, a concerted rush on the part of every European and American connoisseur, a threatening letter from the Italian Foreign Office, some extravagant bidding and the ultimate purchase of the picture for the nation, after a heated debate on the part of twenty-two Royal Academicians and five painters of the new school, who would have accepted death rather than the letters; R.A., after their names. Extensive correspondence appeared in the leading papers; persons wrote expressing the opinion that the picture had never been painted by Del Sarto, that it was the finest example of his work, that the price paid was a further example of government waste, and that the money would have been better employed repairing the main road between Croydon Town Hall and Sydenham High Street, the condition of which const.i.tuted a menace to motor-cyclists.

For nearly ten days scarcely a single publication appeared that failed to reproduce a comment or criticism upon the subject; but, strangely enough, no single leader, writer or casual contributor remarked upon the oddness of the composition or the absence of the Infant from the Madonna's arms. In the course of time--that is to say, on the eleventh day--the matter pa.s.sed from the public mind, a circ.u.mstance explainable perhaps by the decent interment of the canvas in the National Gallery, where it affected no one save those mysterious folk who look at pictures for their pleasure and the umbrellaless refugee who is driven to take shelter from the fierceness of storms.

The little Madonna was placed upon a south wall, whence she could look out upon a brave company. And sometimes people would pause to gaze at her and then shake their heads. And once a girl said, "How sad she looks! I wonder why." And once a little old lady with industrious hands set up an easel before her and squeezed little twists of colour upon a palette, then thought a long time and pursed her lips, and puzzled her brow and finally murmured, "I could never copy it. It's so--so changing." And she, too, went away.

The little Madonna did not dare to step from her frame at night, for other mothers were at hand cradling their babes and the sound of her footfalls might have wakened them. But it was hard to stay still and alone in that happy nursery. She could see through an archway to the right a picture Rubens had painted, and it was all aglow with babies like roses cl.u.s.tered at a porch--fat, dimpled babies who rolled and laughed in aerial garlands. It would have been nice to pick one and carry it back with her. Yet perhaps they were not really mothers'

children, but sprites and joys that had not learned the way to nestle.

Had it been otherwise surely the very call of her spirit must have brought one leaping to her arms.

And then one day came a man and girl, who stopped before her. The girl was half child, half woman, and the man grey and bearded, but with brave blue eyes. It was seventeen years since the night she had stolen across the way and talked with this man in his hour of terror, but time did not cloud the little Madonna's memory with the dust of forgetfulness.

"That's the new Del Sarto," said the girl, who was reading from a small blue book. "See, daddy?"

Then the man turned and looked at her, fell back a step, came forward again, pa.s.sed a hand across his mouth and gasped. "What is it?" asked the girl.

He did not answer at once, then: "The night you were born----" he said.

"I'm certain.... It's--it's Del Sarto too! And the poor empty arms.

Just how she looked, and I closed the door on her."

"Daddy, what are you saying?" There was a frightened tone in the girl's voice.

"It's all right, dear, don't mind me. I must find the keeper of the gallery. Poor little lady! Run back home, tell your mother I may be late."

"But, daddy----"

"There are more things in heaven and earth," he began, but did not finish. It seemed as though the Madonna's eyes were pleading to him, and it seemed as if he could still hear her say, "Help me find him, please!"

He told his story to the Committee of the National Gallery and, to do them credit, it was received with the utmost courtesy.

They did not require him to leave them while their decision was made.

This was arrived at by a mere exchange of glances, a nod answered by a tilt of the head, a wave of the hand, a kindly smile; and the thing was done.

As the chairman remarked: "We must not forget that this gentleman was living at the time opposite to the house in which the picture was hanging, and it is possible that a light had been left burning in the room that contained it.

"Those of us who are fathers--and I regret for my own part that I cannot claim the distinction--will bear me out that the condition of a man's mind during the painful period of waiting for news as to his wife's progress is apt to depart from the normal and make room for imaginings that in saner moments he must dismiss as absurd. There has been a great deal of discussion and not a little criticism on the part of the public as to the committee's wisdom in purchasing this picture, and I am confident you will all agree with me that we could be responsible for no greater folly than to work upon the canvas with various removers on the bare hypothesis, unsupported by surface suggestion, that the Madonna's arms actually contain a child painted in the first intention. For my own part, I am well a.s.sured that at no period of its being has the picture been tampered with, and it is a matter of no small surprise to me, sir, that an artist of your undoubted quality and achievement should hold a contrary opinion. We are, greatly obliged for the courtesy of your visit and trust that you will feel after this liberal discussion that your conscience is free from further responsibility in the matter. Good-day."

That was the end of the interview. Once again the door was slammed in the little Madonna's face.

That night the man told his wife all about it. "So you see," he concluded, "there is nothing more I can do."

But she lay awake and puzzled and yearned long after he had fallen asleep. And once she rose and peeped into the room that used to be the nursery. It was a changed room now, for the child had grown up, and where once pigs and chickens and huntsmen had jostled in happy, farmyard disorder upon the walls, now there were likenesses of Owen Nares and Henry Ainley, obligingly autographed.

But for her the spirit prevailed, the kindly bars still ribbed the windows and the sense of sleeping children still haunted the air.

And she it was who told the man what he must do; and although it scared him a great deal he agreed, for in the end all good husbands obey their wives.

It felt very eerie to be alone in the National Gallery in the dead of the night with a tiny electric lamp in one's b.u.t.tonhole and a sponge of alcohol and turpentine in one's hand. While he worked the little Madonna's eyes rested upon him and it could hardly have been mere fancy that made him believe they were full of grat.i.tude and trust. At the end of an hour the outline of a child, faint and misty, appeared in her arms, its head, circled by a tiny white halo, snuggling against the curve of her little breast.

Then the man stepped back and gave a shout of joy and, remembering the words the painter had used, he cried out, "I will put an infant in your arms that shall live down all the ages."

He had thought perhaps there would come an answering gladness from the Madonna herself and looked into her face to find it. And truly enough it was there. Her eyes, which for centuries had looked questingly forth from the canvas, now drooped and rested upon the baby. Her mouth, so sadly downturned at the corners, had sweetened to a smile of perfect and serene content.

But the men will not believe he washed away the sadness of her looks with alcohol and turpentine. "I did not touch the head. I am certain I did not," he repeated.

"Then how can you explain----"

"Oh, heaven!" he answered. "Put a child in any woman's arms."

LENA WRACE

By MAY SINCLAIR

(From _The Dial_)

1921, 1922

She arranged herself there, on that divan, and I knew she'd come to tell me all about it. It was wonderful, how, at forty-seven, she could still give that effect of triumph and excess, of something rich and ruinous and beautiful spread out on the brocades. The att.i.tude showed me that her affair with Norman Hippisley was prospering; otherwise she couldn't have afforded the extravagance of it.

"I know what you want," I said. "You want me to congratulate you."

"Yes. I do."

"I congratulate you on your courage."

"Oh, you don't like him," she said placably.

"No, I don't like him at all."

"He likes you," she said. "He thinks no end of your painting."

"I'm not denying he's a judge of painting. I'm not even denying he can paint a little himself."

"Better than you, Roly."

"If you allow for the singular, obscene ugliness of his imagination, yes."

"It's beautiful enough when he gets it into paint," she said. "He makes beauty. His own beauty."

"Oh, very much his own."

"Well, _you_ just go on imitating other people's--G.o.d's or somebody's."

She continued with her air of perfect reasonableness. "I know he isn't good-looking. Not half so good-looking as you are. But I like him. I like his slender little body and his clever, faded face. There's a quality about him, a distinction. And look at his eyes. _Your_ mind doesn't come rushing and blazing out of your eyes, my dear."