the fireplace, which he knew must be that of Harry Whitcomb. The face was neither especially fine nor strong, but the winsome smile lurking about the curves of the sensitive mouth and in the depths of the frank blue eyes rendered it attractive, and it was with a sigh for the young life so suddenly blotted out that Darrell turned to enter the second room.
He paused at the doorway, feeling decidedly out of place, and glanced about him with a serio-comic smile. The furnishings were as unique as possible, no one piece in the room bearing any relation or similarity to any other piece. There were chairs and tables of wicker-work, twisted into the most ornate designs, interspersed among heavy, antique pieces of carving and slender specimens of colonial simplicity; divans covered with pillows of every delicate shade imaginable; exquisite etchings and dainty bric-à-brac. In an alcove formed by a large bay-window stood a writing-desk of ebony inlaid with mother-of-pearl, and on an easel in a secluded corner, partially concealed by silken draperies, was the portrait of Kate Underwood,—a childish, rather immature face, but with a mouth indicating both sweetness and strength of character, and with dark, strangely appealing eyes.
The walls of both rooms were lined with bookcases, but their contents were widely diverse, and, to Darrell's surprise, he found the young girl's library contained far the better class of books. But even in their selection he observed the same peculiarity that he had noted in the furnishing of the room; there were few complete sets of books; instead, there were one, two, or three volumes of each author, as the case might be, evidently her especial favorites.
But Darrell returned to the other room, which interested him far more, each article in it bearing eloquent
testimony to the happy young life of whose tragic end he had now often heard, but of which he was unable to recall the faintest memory. Passing slowly through the room, his attention was caught by a violin case standing in an out-of-the-way corner. With a cry of joy he drew it forth, his fingers trembling with eagerness as he opened it and took therefrom a genuine Stradivarius. At that moment his happiness knew no bounds. Seating himself and bending his head over the instrument after the manner of a true violin lover, he drew the bow gently across the strings, producing a chord of such triumphant sweetness that the air seemed vibrating with the joy which at that instant thrilled his own soul.
Immediately all thought of himself or of his surroundings was lost. With eyes half closed and dreamy he began to play, without effort, almost mechanically, but with the deft touch of a master hand, while liquid harmonies filled the room, quivering, rising, falling; at times low, plaintive, despairing; then swelling exultantly, only to die away in tremulous, minor undertones. The man's pent-up feelings had at last found expression,—his alternate hope and despair, his unutterable loneliness and longing,—all voiced by the violin.
Of the lapse of time Darrell had neither thought nor consciousness until the door opened and Mrs. Dean's calm smile and matter-of-fact voice recalled him to a material world.
"I see that you have found Harry's violin," she said.
"I beg your pardon," Darrell stammered, somewhat dazed by his sudden descent to the commonplace, "I ought not to have taken it; I never thought,—I was so delighted to find the instrument and so carried away
with its tones,—it never occurred to me how it might seem to you!"