A Capillary Crime, and Other Stories

by Francis Davis Millet

Seymour, like all who were not obliged to brave the blizzard on that now memorable Monday, had no idea of the severity of the storm which was raging, and was not surprised, therefore, at the appearance of his sitter shortly after nine o’clock. She was accompanied, as usual, by her maid and by her pug-dog. Miss Van Hoorn never looked more charming than she did at that moment, for her cheeks were ruddy with the cold, and her eyes sparkled with the excitement of the drive.

“Do you know,” she said, “we came very near not getting here. The drifts were so high that John was scarcely able to get the horses through the street; and as for the cold, I never felt anything like it. There now, I do believe I have left my opera cloak at home, and you must finish the drapery to-day. You’ll have to run back and bring it,” she added, turning to her maid. “I don’t think the storm is as bad as it was; the wind does not sound so loud, at any rate.”

The maid courageously set out on her walk, but before she crossed the avenue was blown down, half smothered with the snow and half frozen, and was finally rescued by a policeman, who carried her into the basement of the nearest house, where she was obliged to remain the larger part of the day.

Meanwhile the artist and his sitter sat for a long time beside the fire, expecting the return of the maid at every moment. Almost the first thing Miss Van Hoorn noticed was the box of snakes, and, although she was horrified and disgusted at the first sight of them, soon began to look at them with interest, because the artist was so enthusiastic about the use he proposed to make of them, and so full of the picture he had begun. The glass in front of the box was slightly clouded by vapor condensed by the change in temperature, and in order to examine more closely the beautiful colors of the scales, Seymour took out the glass, placed it on top of the box, and went to get a paint-rag to wipe off the vapor. The moccasins made no sign of life.

Miss Van Hoorn was very much interested in the charcoal sketch of the head, criticised it frankly and freely, and they both grew quite absorbed in the changes the artist rapidly made in the proportions of the face. The loud striking of the antique clock soon reminded them, however, that the hour for the sitting was long past, and that the portrait was of more present importance than the embryonic picture.

The artist was shortly busy with his painting, and the sitter, now well accustomed to the pose, endeavored to facilitate the progress of the work by remaining as quiet as possible. The silence of the studio was broken only by the stertorous breathing of the pug, asleep on the Turkish carpet in front of the stove, and by the rattle of the sleet against the large window.

Suddenly the shrill yelps of the dog startled them from their preoccupation. On the carpet, near the stove, one of the moccasins was coiled, ready to strike the pug, who, in an agony of terror, could not move a foot, but only uttered wild and piercing shrieks.

“Never mind; I’ll soon settle him,” said Seymour; and he rushed at the snake with his maul-stick. But before he could cross the room, the moccasin had struck his victim; and as the artist shattered his slender stick at the first blow, he saw that the box was empty, and that the other snakes were wriggling around the studio.

Miss Van Hoorn was transfixed with horror, but she neither shrieked nor fainted, although she looked as if she would swoon before Seymour could reach her. The pair were fairly surrounded by the reptiles before the artist had time to think of another weapon.

The only thing to do in the emergency occurred to both of them at the same instant, and in a much shorter time than it takes to tell it Miss Van Hoorn was safely perched on the solid crossbar of the French easel, four feet or more from the ground; and the painter, who had hastily thrown the portrait on the floor, face upward, was standing on the shelf.