The Best British Short Stories of 1922 Part 44

"I'll stay," she said.

"And will you talk to me?"

"Yes."

"Tell me a story then--just as if I were a kid, a child. A man isn't much more these times."

At the word "child" her arms went out to him, but dropped to her sides again as he said "a man."

"Come under the porch, where the rain won't spoil your pretty silk.

That's better. Now tell away."

They sat side by side, and she began to talk. He must have been listening for other sounds, or surely he would have been bewildered at the very beginning of what she told.

"It's hard to remember when one was alive, but I used to be--yes, hundreds of years ago. I lived--can't remember very well; there was a high wall all around, and a tower and a bell that rang for prayers--and long, long pa.s.sages where we walked up and down to tell our beads.

Outside were mountains with snow caps like the heads of the sisters, and it was cold as snow within, cold and pure as snow. I was sixteen years old and very unhappy. We did not know how to smile; that I learnt later and have forgotten since. There was the skull of a dead man upon the table where we sat to eat, that we might never forget to what favour we must come. There were no pretty rooms in that house."

"What would you call a pretty room?" he asked, for the last sentence was the first of which he was aware.

"I don't know," she answered. "I think a room with little beds, and wooden bars across the window, and a high fender would be a pretty room."

"We have been busy making such a room as that," he said. "There's a wall paper with pigs and chickens and huntsmen on it. But go on."

"There were iron bars to the window of my cell. He was very strong and tore them out with his hands as he stood up on the saddle of his horse.

We rode into Florence as dawn broke, and the sun was an angry red; while we rode his arm was around me and my head upon his shoulder. He spoke in my ear and his voice trembled for love of me. We had thrown away the raiment of the sisterhood to which I had belonged, and as I lay across the saddle I was wrapped in a cloak as crimson as the sun."

"Been reading Tennyson, little lady?" asked the man.

She did not understand, and went on: "It was a palace to which he brought me, bright with gold, mosaic and fine hangings that dazzled my eyes after the grey they had been used to look upon. There were many servants and richly clad friends, who frightened me with their laughter and the boldness of their looks. On his shoulder he bore me into the great dining hall, where they sat awaiting us, and one and all they rose to their feet, leaping upon stools and tables with uplifted goblets and shouting toasts.

"The noise was greater than any I had heard before and set my heart a-beating like the clapper of the convent bell. But one only stayed in his chair, and his looks were heavy with anger. At him the rest pointed fingers and called on him derisively to pay the wager and be glad.

Whereat he tugged from his belt a bag of gold which he flung at us as though with the will to injure. But he who held me caught the bag in his free hand, broke the sealed cord at the neck of it and scattered the coins in a golden rain among the servants.

"After this, he set me by his side at the board, gave me drink from a br.i.m.m.i.n.g goblet and quails cooked in honey from wild bees and silver dishes of nectarines and pa.s.sion fruit. And presently by twos and threes the guests departed, singing and reeling as they went, and he and I were left alone. Alone," she repeated shuddering.

"Did you hear anything?" said the young man, raising his head. "A cry, a little cry? No? I can hear footsteps moving up and down. Doctors'

boots always creak. There! Listen! It was nothing. What were you saying?"

"Twice in the months that followed I tried to run away, to return to the convent; but the servants whom I had counted my friends deceived me, and I was brought back to a beating, brought back strapped to his stirrup iron as I might have been a Nubian slave. Long since he had ceased loving me; that lasted such a little while. He called me Madonna, as though it were a term of shame, and cursed me for coldness and my nunnery ways. He was only happy when he read in my face the fear I held him in. And I was always afraid!"

"Afraid!" echoed the man. "Until to-night I was never afraid."

"And then my baby came, and I was not afraid any more, but contented all through. I carried him always in my arms by day and night. So pink and little and with a smile that warmed like suns.h.i.+ne." She paused and added plaintively: "It's hard to remember when one was alive. My hands, my arms have forgotten the feel of him."

"I wish," said the man, "I'd had a second opinion. It might have frightened her though. Oh, heaven, how much longer! Don't mind me, little lady. You're helping no end. You were speaking of baby. Yes!"

"He killed my baby," said the little Madonna, "because he had killed my fear of him. Then being done with me, he threw me out in the streets alone. I thought to end it that night, because my arms were empty and nothing could be good again. But I could not believe the baby was indeed gone; I thought if I searched I would find him in the course of time. Therefore I searched the city from end to end and spoke with mothers and peeped into nurseries and knocked at many doors. And one day a door was opened by a man with great eyes and bronze hair swept back from his brow--a good man. He wore a loose smock over his doublet, smeared with many colours, and in his left hand he held a palette and brushes. When he saw me he fell back a pace and his mouth opened.

'Mother of mercy!' he breathed. 'A real Madonna at last!' His name was Andrea del Sarto, and he was a painter."

"I am a painter, too," said the young man, forgetting his absorption at the mention of a great name.

"He brought me into his room, which was bright with windows and a fire.

He bade me tell my story, and while I spoke never once did his eyes desert me. When I had ended he rose and walked up and down. Then he took from a chest a cloak of blue and gold and draped it round me.

'Stand upon that throne, Madonna,' said he, 'and I will put an infant in your arms that shall live down all the ages.' And he painted me. So with the child at my breast, I myself had pa.s.sed into the picture and found contentment there.

"When it was finished the great ones of many cities came to look upon it, and the story of how I came to be painted went from mouth to mouth.

Among those who were there was he who had taken me from the nunnery, and, seeing me in perfect happiness, a fury was born in him.

"I was hidden behind a hanging and watched the black anger rising up and knotting his brow into ugly lines. He bought the canvas, and his servants carried it away. But since the child was in my arms for all time it mattered little to me.

"Then one night two men came to my lodging and without question took me across the city and led me into the palace where I had lived with him.

And he came forward to meet me in the great hall. There was a mocking smile on his lips and he pointed to a wall upon which a curtain was hanging.

"'I took away that child,' he said, 'because you valued it higher than the love of man. Look now.' At a gesture a servant threw back the hanging and revealed the picture. The babe was gone and my arms crooked to cradle him were empty with the palms upturned.

"I died then--to the sound of his laughter I died, and, looking down from the canvas, I watched them carry me away. And long into the night the man who twice had robbed me of my child sat at the long table staring out before him, drinking great draughts and sometimes beating the boards with his bare fists. As dawn broke he clapped his hands and a servant entered. He pointed at me with a shaking hand. 'Take it away,' he cried. 'To a cellar, and let masons brick up the door.' He was weeping as they carried me down to the dark beneath the house."

"What a strange being you are!" said the young man. "You speak as though these were real memories. What happened to the picture then?"

"I lay in the dark for so long--hundreds of years, I think--and there was nowhere I might look. Afterward I was found and packed in a box and presently put upon the wall in the sad room, where everything is so old that I shall not find him there. This is the furthest I have dared to look. Help me find him, please! Won't you help me find him?"

"Why, little lady," he answered soothingly, "how shall I help? That's a woman's burden that heaven isn't merciful enough to let a man share."

He stopped abruptly and threw up his head. "Did you hear that--there?"

Through the still, early morning air came a faint, reedy cry.

The young man was upon his feet, fiercely fitting a key into the lock.

The little Madonna had risen, too, and her eyes were luminous, like glowworms in the dark.

"He's calling me," she cried. "He's calling."

"Mine," said the young man.

She turned to follow, but the door closed between them.

To the firm of Messrs. Ridgewell, Ridgewell, Hitchc.o.c.k and Plum was given the task of disposing of the furniture and effects of the late Sabina Prestwich, spinster, of 22a Cambridge Avenue, Hyde Park, W.

As Mr. Ridgewell, junior, remarked to Mr. Plum while engaged in compiling the sale list and supplying appropriate encomiums to describe an upright grand by Rubenthal, Berlin: "Victorian muck! Lucky if we clean up two-fifty on the lot."

Mr. Plum was disposed to agree. "Though I must say," he added, "it wouldn't surprise me if that picture was worth a bit. Half a mind to let old Kineagie have a squint at it."

"Please yourself," responded Mr. Ridgewell, junior, "but to my mind it's ten guineas for nix."

It was the chance discovery of an old doc.u.ment amongst a litter of receipts and papers that persuaded them to engage an expert opinion.

The doc.u.ment stated that the picture had been discovered bricked up in a Florentine cellar some fifty years before and had been successfully smuggled out of Italy. But the man who found it died, and it pa.s.sed with a few other unvalued possessions to Sabina Prestwich, now deceased.