A Bookful of Girls

“Does she read?”

“No,” Blythe answered, thankful that she was not obliged to muster her “conjugations” for the emergency!

There was a swift interchange of question and answer between the old man and the child, of which Blythe understood but little. She heard Cecilia say “Mamma,” in answer to an imperative question; the words “orologio” and “perduto” were intelligible to her. She was sure that the crest and motto formed the subject of discussion, and it was distinctly borne in upon her that the same device – a mailed hand and arm with the word Fideliter beneath it – had been engraved on a lost watch which had belonged to the child’s mother. But it was all surmise on her part, and she could hardly refrain from shouting aloud to Mr. Grey, standing over there, in dense unconsciousness, to come quickly and interpret this exasperating tongue, which sounded so pretty, and eluded her understanding so hopelessly.

The mind of the Count seemed to be turning in the same direction, for, after a little, he arose abruptly, and, setting the child down beside Blythe, walked straight across the deck to the Englishman, whom he accosted so unceremoniously that Blythe’s sense of wonders unfolding was but confirmed.

The two men turned and walked away to a more secluded part of the deck, where they remained, deep in conversation, for what seemed to Blythe a long, long time. She felt as if she must not leave her seat, lest she miss the thread of the plot, – for a plot it surely was, with its unravelling close at hand.

At last she saw the two men striding forward in the direction of the steerage, and with a conspicuous absence of that aimlessness which marks the usual promenade at sea.

The little girl was again amusing herself with the glasses, and, as the two arbiters of her destiny passed her line of vision, she laughed aloud at their swiftly diminishing forms. Impelled by a curious feeling that the child must take some serious part in this crucial moment of her destiny, Blythe quietly took the glasses from her and said, as she had done each night when she put her little charge to bed:

“Will you say a little prayer, Cecilia?”

And the child, wondering, yet perfectly docile, pulled out the little mother-of-pearl rosary that she always wore under her dress, and reverently murmured one of the prayers her mother had taught her. After which, as if beguiled by the association of ideas into thinking it bedtime, she curled herself up on the bench, and, with her head in Blythe’s lap, fell fast asleep.

And Blythe sat, lost in thought, absently stroking the little head, until suddenly Mr. Grey appeared before her.

“You have been outrageously treated, Miss Blythe,” he declared, seating himself beside her, “but I had to let the old fellow have his head.”

“Oh, don’t tell me anything, till we find Mamma,” Blythe cried. “It’s all her doing, you know, – letting me have Cecilia up here,” and, gently rousing the sleeper, she said, “Come, Cecilia. We are going to find the Signora.”

“And you consider it absolutely certain?” Mrs. Halliday asked, when Mr. Grey had finished his tale. She was far more surprised than Blythe, for she had had a longer experience of life, to teach her a distrust in fairy-stories.

“There does not seem a doubt. The child’s familiarity with the crest was striking enough, but that Bellini Madonna clinches it. And then, Giuditta’s description of both father and mother seems to be unmistakable.”

“Oh! To think of his finding the child that he had never heard of, just as he had given up the search for her mother!” Blythe exclaimed.

Cecilia was again playing happily with the glasses, paying no heed to her companions.

“The strangest thing of all to me,” Mrs. Halliday declared, “is his relenting toward his daughter after all these years.”

“You must not forget that Fate had been pounding him pretty hard,” Mr. Grey interposed. “When a man loses in one year two of his children, and the only grandchild he knows anything about, it’s not surprising that he should soften a bit toward the only child he has left.”

They were still discussing this wonderful subject, when, half an hour later, the tall figure of the Count emerged from the companionway. As he bent his steps toward the other side of the deck he was visible only to the child, who stood facing the rest of the group. She promptly dropped the glasses upon Blythe’s knee, and crying, “Il Signore!” ran and took hold of his hand; whereupon the two walked away together and were not seen for a long, long time.

Then Blythe and Mr. Grey went up on the bridge and told the Captain. No one else was to know – not even Mr. DeWitt – until after they had landed, but the Captain was certainly entitled to their confidence.

“For,” Blythe said, “you know, Captain Seemann, it never would have happened if you had not sent us up in the crow’s nest that day.”

Upon which the Captain, beaming his brightest, and letting his cigar go out in the damp breeze for the sake of making his little speech, declared:

“I know one thing! It would neffer haf happen at all, if I had sent anybody else up in the crow’s nest but just Miss Blythe Halliday with her bright eyes and her kind heart!”

And Blythe was so overpowered by this tremendous compliment from the Captain of the Lorelei that she had not a word to say for herself.

That evening Mr. Grey inscribed his nonsense-verse in Blythe’s book; and not that only, for to those classic lines he added the following:

“The above was composed in collaboration with his esteemed fellow-passenger, Miss Blythe Halliday, by Hugh Dalton, alias ‘Mr. Grey.’”

It was, of course, a great distinction to own such an autograph as that; yet somehow the kind, witty Mr. Grey had been so delightful just as he was, that Blythe hardly felt as if the famous name added so very much to her satisfaction in his acquaintance.

“I knew it all the time,” she declared, quietly; “but it didn’t make any difference.”

“That’s worth hearing,” said Hugh Dalton.

They parted from the little Cecilia at sunrise, but with promises on both sides of a speedy meeting among the hills of Tuscany.

The old Count, with the child’s hand clasped in his, paused as he reached the gangway, at the foot of which the triumphant Giuditta was awaiting them, and pointed toward the rosy east which was flushing the beautiful bay a deep crimson.

“Signorina,” he said in his careful French, made more careful by his effort to control his voice, – “Signorina, it is to you that I owe a new dawn, – to you and to your honoured mother.”

Then, as Mr. DeWitt and Mr. Grey approached, to tell them that everything was in readiness for them to land, Blythe turned, with the light of the sunrise in her face, and said, under her breath, so that only her mother could hear:

“O Mumsey! How beautiful the world is, with you and me right in the very middle of it!”

Artful Madge

CHAPTER I

THE PRIZE CONTEST

“Artful Madge” was the very flippant name by which Madge Burtwell’s brother Ned had persisted in calling her from the time when, at the age of sixteen, she gained reluctant permission to become a student at the Art School.

“Not that we have any objection to art,” Mrs. Burtwell was wont to explain in a deprecatory tone; “only we should have preferred to have Madge graduate first, before devoting herself to a mere accomplishment. It seems a little like putting the trimming on a dress before sewing the seams up,” she would add; “I did it once when I was a girl, and the dress always had a queer look.”

But Mrs. Burtwell, though firm in her own opinions, was something of a philosopher in her attitude toward the contrary-minded, and even where her own children were concerned she never allowed her influence to degenerate into tyranny. When she found Madge, at the age of sixteen, more eager than ever before to study art, and nothing else, she told her husband that they might as well make up their minds to it, and, at the word, their minds were made up. For Mr. Burtwell was the one entirely and unreasoningly tractable member of Mrs. Burtwell’s flock; in explanation of which fact he was careful to point out that only a mature mind could appreciate the true worth of Mrs. Burtwell’s judgment.

The Burtwells were people of small means and of correspondingly modest requirements. They lived in an unfashionable quarter of the city, kept a maid-of-all-work, sent their children to the public schools, and got their books from the Public Library. Having no expensive tastes, they regarded themselves as well-to-do and envied no one.

If Madge Burtwell’s eyes had been a whit less clear, or her nature a thought less guileless, Ned would not have been so enchanted with his new name for her. Indeed, a few years ago she had been described by an only half-appreciative friend as “a splendid girl without a mite of tact,” and if she had succeeded in somewhat softening the asperity of her natural frankness, there was enough of it left to lend a delicate shade of humour to the name.

Artful Madge, then, was a student at the Art School, and a very promising one at that. At the end of three years she had made such good progress that she was promoted to painting in the Portrait Class, and since her special friend and crony, Eleanor Merritt, was also a member of that class, Madge considered her cup of happiness full. Not that there were not visions in plenty of still better things to come, but they seemed so far in the future that they hardly took on any relation with the actual present. Madge and Eleanor dreamed of Europe, of the old masters and of the great Paris studios, but it is a question whether the fulfillment of any dream could have made them happier than they were to-day. Certain it is, that, as they stood side by side in the great barren studio, clad in their much-bedaubed, long-sleeved aprons, and working away at a portrait head, they had little thought for anything but the task in hand. The one vital matter for the moment was the mixing and applying of their colours, and, in their eagerness to reproduce the exact contour of a cheek, or the precise shadow of an unbeautiful nose, they would hardly have transferred their attention from the most ill-favoured model to the last and greatest Whistler masterpiece.

The girls at the Art School had got hold of Ned’s name for his sister and adopted it with enthusiasm.

“If you want to know the truth, ask Artful Madge,” was a very common saying among them.

“Artful Madge says it’s a good likeness, anyhow!” modest little Minnie Drayton would maintain, when hard pressed by the teasing of the older girls.

The incongruity of the name seemed somehow to throw into brighter relief the peculiar sincerity of its bearer’s character, and by the time it was generally adopted among the students Madge Burtwell’s popularity was established.

It was well that Madge was a favourite, for in certain respects she was the worst sinner in the class. To begin with, her palette was the very largest in the room, and the most plentifully besmeared with colours, and woe to the girl who ventured too near it! As Madge stood before her easel, tall and fair and earnest, painting with an ardour and concentration which was all too sure to beguile her into her besetting sin of “exaggerating details,” she wielded both brush- and palette-arm with a genial disregard of consequences. Nor could one count upon her confining her activities to one location. Like all the students, she was in the habit of backing away from her natural anchorage from time to time, the better to judge of her work, and not one of them all had such a fatal tendency to come up against an unoffending easel in the rear, sending canvas and paint-tubes rattling upon the floor.

Instantly she would drop upon her knees, overcome with contrition, and help collect the scattered treasures, giving many a jar or joggle to neighbouring easels in the process.

“It’s a shame, Miss Folsom!” she would cry, struggling to her feet again, still clutching her beloved palette, which seemed fairly to rain colours on every surrounding object. “It’s a shame! But if you will just cast your eye upon that thing of mine, you will perceive that it was the recklessness of desperation. Look at it! There’s not a value in it!”