"Pratt is the one to whom you are to pay your first respects--he is master," warned Britt. "Ask to see his collections--that always pleases him. If you will permit, I will lead the way."
"I am trusting you."
"You may do so."
Pratt came in quite briskly, a heavy-faced, white-bearded man, wearing a sack-suit and an old-fashioned turn-down collar. He greeted Britt with a casual hand-shake, looking at Kate suspiciously. "And who is this?" he asked, bluffly.
"A friend of mine, a Mrs. Rice, who desires to see your wonderful collection of slates and paintings."
Pratt softened a little. "I'll be very glad to show them," he said, "but not now. I'll have to ask you to excuse me just now. I am in consultation with my directors."
"Certainly," said Britt, and, after Pratt went out, he added: "That means that Clarke is going to launch his thunderbolt. He's going to defy the scientific world in the most burning oration since Cicero."
At this moment two ladies, in superb wraps, descended the stairway on their way to their carriages, and one of them said, "I think it's a shame--as long as we've known Simeon Pratt--to be turned away like a tramp!"
"Oh, I don't blame her," said the other.
"Some disappointed callers," said Britt.
A moment later several other curious ones were ushered into the drawing-room. Britt kept up a low-toned comment. "All these rubber-necks are here to see the girl. You will be surprised to know how many there are with a sneaking belief in these revelations."
It was a singular situation in which to find Simeon Pratt--major-domo to a crowd of idle curiosity-seekers--and when he returned, with an assumption of haste and bustle, Britt saw him in a new light--that of a poor, lonely, broken old man, weary of life, yet living on in daily hope of communion with the dead, stuffing his heart with dreams and delusions, walking mechanically round, interested only in death.
He had forgotten Kate's name, but he remembered her wish to see his treasures.
"Come to my library," he said; "but first let me call your attention to this remarkable painting."
The painting--or rather wash-drawing in black-and-white--hung over the grand-piano in the light of the west windows. It was globular in form, and represented, Simeon explained, the "War of Light and Darkness." One-half of the globe was darkly shaded, curiously fretted by the lighter half. Above sat a snow-white eagle. Beneath, with prodigious wings outspread, and eyes gleaming like points of fire, hovered a mysterious bat.
"Look closer," commanded Simeon.
Narrower scrutiny brought out, even in the darker half of the globe, a multitude of intertwined forms, outlined with pen and ink. Those of the lighter hemisphere were beautiful as angels, with faint stars in their hair. All were singing. The others, the denizens of the dark, were twisted and contorted in agony, and each was drawn with such certainty of prearrangement that the line which formed the arm of one outlined the head of another. There were hundreds of them, and the whole work was as intricate in design as the engraving on a bank-note, and so packed with symbolism--according to Simeon's exegesis--that one might study it for days. "Observe," said he, "the innumerable faces formed by the line which divides the two worlds. Take these glasses."