followed him up the first flight of stairs, crossed the lower balcony and ascended a second stairway, narrow and steeper than the first, to the upper gallery where Miss O'Shane waited before the heavily carved door of a great, eavelike room paneled from flagstone floor to beamed ceiling with age-blackened oak wainscot. Candles seemed the only mode of illumination available in the house, and our hostess had lighted half a dozen tapers which stood in two antique girandoles so that their luminance fell directly on an oblong of eggshell bristol board anchored to her easel by thumbtacks.
"Now, here's what I started to do," she began, indicating the sketch with a long, beautifully manicured forefinger. "This was supposed to be the inside of the stable at Bethlehem, and—oh?" The short, half-choked exclamation, uttered with a puzzled, questioning rising inflection, cut short her sentence, and she stared at her handiwork as though it were something she had never seen before.
Leaning forward, I examined the embryonic picture curiously. As she had said at dinner, the interior, rough and elementary as it was, did not resemble a stable. Crude and rough it undoubtedly was, but with a rudeness unlike that of a barn. Cubic, rough-hewn stones composed the walls, and the vaulting of the concamerated roof was supported by a series of converging arches with piers based on blocks of oddly carved stone representing wide, naked feet, toes forward, standing on the crowns of hideous, gargoylish heads with half-human, half-reptilian faces which leered hellishly in mingled torment and rage beneath the pressure. In the middle foreground was a raised rectangular object which reminded me of a flat-topped sarcophagus, and beside it, slightly to the rear, there loomed the faint, spectral outline of a sinister, cowled figure with menacing, upraised hand, while in the lower foreground crouched, or rather groveled, a second figure, a long, boldly sketched female form with outstretched, supplicating hands and face concealed by a cascade of down ward-sweeping hair. Back of the hooded, monkish form were faint outlines, of what had apparently first been meant to represent domestic animals, but I could see where later, heavier pencil strokes had changed them into human shapes resembling the cowled and hooded figure.
I shuddered involuntarily as I turned from the drawing, for not only in half-completed line and suggestive curve, but also in the intangible spirit of the thing was the suggestion of something bestial and unhallowed. Somehow, the thing seemed to suggest something revolting, something pregnant with the disgusting incongruity of a ribald song bawled in church when the Kyrie should be sung, or of rose-water sprinkled on putrefying offal.
De Grandin's slender dark brown eyebrows elevated till they almost met the shoreline of his sleekly combed fair hair, and the waxed points of his diminutive blond mustache reared upward like a pair of horns as he pursed his thin lips, but he made no verbal comment.
Not so Miss O'Shane. As though a sudden draft of air had blown through the room, she shivered, and I could see the tiny hummocks of horripilation rise on her forearms as she stared, wide-eyed, at her own creation. "It wasn't like that!" she exclaimed in a thin, rasping whisper like the ghost of a scream. "I didn't do that!"
"Eh, how do you say, Mademoiselle?" de Grandin challenged, regarding her with his unwinking cat-stare. "You would have us to understand that"
"Yes!" She still spoke in a sort of awed, wondering whisper. "I didn't draw it that way! I blocked in the interior and made it of stone, for I was pretty sure the Holy Land
