The Art of Disappearing

by John Talbot Smith

"There's jist two. I wudn't dare to take thim out of his room, but if ye care to walk up-stairs, Mr. Curran, an' luk at thim there, ye're welcome. He an' his mother are away the night to a gran' ball."

They entered Arthur's apartments together, and Judy showed the pictures of Arthur Dillon as a boy of fourteen, and of his youthful father; old daguerreotypes, but faithful and clear as a likeness. Judy rattled on for an hour, but the detective had achieved his object. She had no share in the secret.

Arthur Dillon was his father's son, for her. He studied the pictures, and carefully examined the rooms, his admiration provoking Judy into a display of their beauties. With the skill and satisfaction of an artist in man-hunting, he observed how thoroughly the character of the young man displayed itself in the trifles of decoration and furnishing.

The wooden crucifix with the pathetic figure in bronze on the wall over the desk, the holy water stoup at the door, carved figures of the Holy Family, a charming group, on the desk, exquisite etchings of the Christ and the Madonna after the masters, a prie-dieu in the inner room with a group of works of devotion: and Edith had declared him no Catholic. Here was the refutation.

"He is a pious man," Curran said.

"And no wan sees it but God and himself. So much the betther, I say," Judy remarked. "Only thim that had sorra knows how to pray, an' he prays like wan that had his fill of it."

The tears came into the man's eyes at the indications of Arthur's love for poor Erin. Hardness was the mark of Curran, and sin had been his lifelong delight; but for his country he had kept a tenderness and devotion that softened and elevated his nature at times. Of little use and less honor to his native land, he felt humbled in this room, whose books, pictures, and ornaments revealed thought and study in behalf of a harried and wretched people, yet the student was not a native of Ireland. It seemed profane to set foot here, to spy upon its holy privacy. He felt glad that its details gave the lie so emphatically to Edith's instincts.

The astonishing thing was the absence of Californian relics and mementoes. Some photographs and water colors, whose names Curran mentally copied for future use, pictured popular scenes on the Pacific slope; but they could be bought at any art store. Surely his life in the mines, with all the luck that had come to him, must have held some great bitterness, that he never spoke of it casually, and banished all remembrances.

That would come up later, but Curran had made up his mind that no secret of Arthur's life should ever see the light because he found it. Not even vengeful Edith, and she had the right to hate her enemy, should wring from him any disagreeable facts in the lad's career. So deeply the detective respected him!

In the place of honor, at the foot of his bed, where his eyes rested on them earliest and latest, hung a group of portraits in oil, in the same frame, of Louis the beloved, from his babyhood to the present time: on the side wall hung a painting of Anne in her first glory as mistress of the new home in Washington Square; opposite, Monsignor smiled down in purple splendor; two miniatures contained the grave, sweet, motherly face of Mary Everard and the auburn hair and lovely face of Mona.