stables were masonry, but I didn't draw those beastly arch-supports! They were just plain blocks of stone when I made them. I did put in the arches—not that I wanted to, but because I felt compelled to do it, but this—this is all different!" Her words trailed off till we could scarcely catch them, not because of lowered tone, but because they came higher, thinner, with each syllable. Stark, unreasoning terror had her by the throat, I could see, and it was with the utmost difficulty that she managed to breathe.
"H'm," de Grandin tweaked the pointed ends of his mustache. "Let us recapitulate, if you please, Mademoiselle: Yesterday and today you worked on this sketch? Yes? You drew what you conceived to be a Jewish stable in the days of Cæsar Augustus—and what else, if you recall?"
"Just the stable and the bare outlines of the manger, then a half-completed figure which was to have been Joseph, and the faintest outlines of the animals and a kneeling figure before the cradle—I hadn't determined whether it would be male or female, or whether it would be full-draped or not, for I wasn't sure whether I'd have the Magi or the shepherds or just some of the village folk adoring the Infant, you see. I gave up working about 4 this afternoon, because the light was beginning to fail and because"
"Eh bien, because of what, if you please, Mademoiselle?" the Frenchman prompted sharply as the girl dropped her recital.
"Because there seemed to be an actual physical opposition to my work—almost as if an invisible hand were gently but insistently forcing my pencil to draw things I hadn't conceived—things I was afraid to draw! Now, do you think I'm crazy?"
She paused again, breathing audibly through slightly parted lips, and I could see the swelling of her throat as she swallowed convulsively once or twice.
Ignoring her question, the little Frenchman regarded her thoughtfully a moment, then examined the drawing once more. "This who was to have been the good Saint Joseph, now," he asked softly, "was he robed after this fashion when you limned him?"
"No, I'd only roughed out the body, he had no face when I quit work."
"U'm, Mademoiselle, he is still without a face," de Grandin replied.
"Yes, but there's a place for his face in the opening of his hood, and if you look closely you can almost see his features—his eyes, especially. I can feel them on me, and they're not good. They're bad, wicked, cruel—like a snake's or a devil's. See, he's robed like a monk; I didn't draw him that way!"
De Grandin took up one of the candelabra and held it close to the picture, scanning the obscene thing with an unhurried, critical stare, then turned to us with a half-impatient shrug. "Tenez, my friends," he remarked, "I fear we make ourselves most wretchedly unhappy over a matter of small moment. Come, let us join the others."
3
Midnight had struck and de Grandin and I had managed to lose something like thirty dollars at the bridge tables before the company broke up for the evening.
"Do you really think that poor O'Shane girl is a little off her rocker?" I asked as we made ready for bed.
"I doubt it," he replied as he fastened the sash of his pale lavender pajama jacket with a nervous tug; "indeed, I am inclined to believe all that she told us—and something more."
"You think it possible she could have been in a sort of day-dream while she drew those awful things, thinking all the while she was draw-
