Kate, by means of the powerful instrument which he thrust upon her, was able to detect hundreds of other faces invisible to the unaided eye. "It is wonderful. Who did it?"
"A Swedish servant-girl," answered Simeon, loudly, addressing every one in the room. "She couldn't write her name; but when the spirit of Raphael controlled her she could do this with her eyes shut. There's nothing like that picture in the world. It cannot be duplicated by any artist in the flesh."
"That's no dream," murmured Britt.
Pratt hurried them on, past many other equally wonderful paintings, to his library, and as his guests filed in he faced them. "The things I am about to show you have no equal anywhere. They have taken years to collect, and have cost me more than a hundred thousand dollars. I can show you but a few."
The library was a splendid room, rich with the light of the western sun, whose arrangement instantly struck Kate Rice as unusual, for the book-shelves were precisely like those of a butler's pantry. They began at about four feet from the floor and reached entirely to the ceiling, and were filled with splendid, neglected books, while beneath a broad shelf, at their base, were rows of little brass knobs, each of which indicated a shallow drawer. Each drawer had a lock and a small plate which bore a letter and a number, not unlike the cabinet of a numismatist.
"There are but two keys in existence," explained Simeon, with shining face. "The one I now hold and the one in my safety vaults. No one is permitted in this room without my secretary or myself." He moved down the room between the cabinet and the big table. "Here is a message from Columbus." He unlocked and drew out one of the drawers and laid it upon the table. It was exquisitely made, and contained two ordinary hinged school-slates, with the inner sides visible, but protected by a heavy plate of glass. "This message came to me through Angelica Cox--under test conditions," Pratt further explained, as Kate bent above it.
"What do you mean by test conditions?" asked Britt.
"I mean, sir, that I bought and took these slates to the medium, and held them in my hands while that message was written." There was irritation in his voice. He replaced the drawer. "But here is a painting from Murillo, the great artist. He painted the face of one of the ancients." He laid before his silent auditors another drawer which contained a sheet of card-board on which was a fairly good pastel of an Arab in a burnouse. It had the weak and false drawing which would result in the attempt of an amateur to copy an engraving in color. "This came in broad daylight while I held the clean card-board on my head," explained Simeon.