Part 19 (1/2)

”Admirable!” he said. ”Corot, with some of the breadth of Constable.

Forgive the comparisons, Mr. Trenholme. Of course, the style is your own, but one uses the names of accepted masters largely as adjectives to explain one's meaning. You are a true impressionist. You paint Nature as you see her, not as she is, yet your technique is superb and your observation just. For instance, every shadow in this lovely drawing shows that the hour was about eight o'clock. But, in painting figures, I have no doubt you sink the impressionist in the realist....

The other sketch, please.”

”The other sketch is a mere color note for future guidance,” said Trenholme offhandedly.

”It happens also to be a recognizable portrait of Miss Sylvia Manning.

I'm sorry, but I must see it.”

”Suppose I refuse?”

”It will be obtained by other methods than a polite request.”

”I'm afraid I shall have to run the risk.”

”No, you won't.” And the detective's tone became eminently friendly.

”You'll just produce it within the next half minute. You are not the sort of man who would care to drag a lady's name into a police-court wrangle, which can be the only outcome of present stubbornness on your part. I know you were hidden among those cedars between, say, eight o'clock and half past nine. I know that Miss Manning bathed in a lake well within your view. I know, too, that you sketched her, because I saw the canvas a moment ago--an oil, not a water color. These things may or may not be relevant to an inquiry into a crime, but they will certainly loom large in the public mind if the police have to explain why they needed a warrant to search your apartments.”

Furneaux had gauged the artistic temperament accurately. Without another word of protest Trenholme placed the disputed canvas on the easel.

”Do you smoke?” inquired the detective suddenly.

”Yes. What the deuce has my smoking got to do with it?”

”I fancied that, perhaps, you might like to have a pipe while I examine this gem at leisure. One does not gabble the common-places of life when in the presence of the supreme in art. I find that a really fine picture induces a feeling of reverence, an emotion akin to the influence of a mountain range, or a dim cathedral. Pray burn incense.

I am almost tempted to regret being a non-smoker.”

Trenholme had heard no man talk in that strain since last he sat outside the Cafe Margery and watched the stream of life flowing along the Grand Boulevard. Almost unconsciously he yielded to the spell of a familiar jargon, well knowing he had been inspired in every touch while striving frenziedly to give permanence to a fleeting vision. He filled his pipe, and surveyed the detective with a quickened interest.

Furneaux gazed long and earnestly.

”Perfect!” he murmured, after that rapt pause. ”Such a portrait, too, without any apparent effort! Just compare the cold sunlight on the statue with the same light falling on wet skin. Of course, Mr.

Trenholme, you'll send this to the Salon. Burlington House finds satiety in Mayors and Masters of Fox Hounds.”

”Good, isn't it?” agreed Trenholme. ”What a cursed spite that it must be consumed in flame!”

”But why?” cried Furneaux, unfeignedly horrified.

”Dash it all, man, I can never copy it. And you wouldn't have me blazon that girl's face in a gallery after today's tragedy!”

The detective snapped his fingers.

”Poof!” he said. ”I shall have Mr. Fenley's murderer hanged long before your picture is hung. London provides one front-rank tragedy a week, but not another such masterpiece in ten years. Burn it because of a sentiment! Perish the thought.”

”If I had guessed you were coming here so promptly it would have been in ashes an hour ago,” said Trenholme, grimly insistent on sacrifice.

With a disconcerting change of manner the detective promptly a.s.sumed a dryly official att.i.tude.

”A mighty good job for you that nothing of the sort occurred,” he said. ”Your picture is your excuse, Mr. Trenholme. What plea could you have urged for spying on a lady in an open-air bath if deprived of the only valid one?”