Like a thread snapped suddenly, the novelist's meditations ceased. On the wall before him the dragons alighted, the mask awoke. Between them a canvas was emerging. Dim, shadowy, uncertain, it hesitated, wavered, advanced.
Then, as it hung unsupported in the air—far too unsupported, he presently thought—he looked it over.
To apparitions he was accustomed. They were part of his equipment. Unsummoned, without incantations they came, sent, one might think, by the muse whom he derided, but more naturally and very simply produced by the machinery in his brain.
Now, as he examined the canvas, its imprecision diminished, the shadows passed, the obscurity lifted, the penumbra brightened, outlines defined themselves, the colouring appeared, a colouring, after the manner of Rembrandt, composed of darkness in which there is light and which, as such, reveals.
Jones stood up, turned around and sat down again as gamblers, disquieted by their luck, will do.
Before him still the picture floated. He disavowed it, disowned it. Yet there it was, the child of his fancy, the first-born of the morning, the fruit of his concentrated thought, and as, surprisedly, he considered it, it took on such semblances of legitimacy, that the disavowals ceased. Then, slowly disintegrating, its consistence lessened. It was departing, vaporously as it had come. Jones waved at it, omitting out of sheer abstraction to say Au revoir, yet omitting also, and through equal modesty, to say Eureka!
He pressed a button. Instantly, as though sprung from a trap, his servant appeared.
"Get Mr. Lennox on the telephone."
The minutes lengthened. Finally the servant reappeared.
"Mr. Lennox is not at home, sir. His man says he's gone to Centre Street. He's been arrested. Mr. Lennox has been arrested. Yes, sir."