CHAPTER XVIII.
FOLLOWING THE TRAIL.
The next morning, when Winn opened his eyes after the first night of undisturbed sleep he had enjoyed since leaving home, he was for a moment greatly puzzled to account for his surroundings. His bed had been made down in the exhibition hall on two benches drawn close together, and as he awoke, he found himself staring at a most marvellous painting that occupied the full height and nearly the entire width of the stage at the farther end of the hall. It was a lurid scene, but so filled with black shadows that to a vivid imagination it might represent any one of many things. While the boy was wondering if the young woman in yellow who appeared in the upper corner of the picture, with outstretched arms and dishevelled hair, was about to commit suicide by flinging herself from the second story of the factory, and only hesitated for fear of crushing the badly frightened young man in red who from the street below had evidently just discovered his peril, a door opened, and his host of the evening before tiptoed into the room.
The expression "tiptoed" is here used to indicate the extreme caution of Cap'n Cod's entrance, and his evident desire to effect it as noiselessly as possible. As he could only tiptoe on one foot, however, and had neglected to muffle the iron-shod peg that served him in place of the other, his progress was attended with more than its usual amount of noise. He appeared relieved to find Winn awake, and advancing with a cordial greeting, he laid the boy's own clothing, now cleaned and dried, within his reach. "I should have sent Solon in with these," he explained, "but for fear he might make a noise that would rouse you, and I noticed last evening that you were sadly in need of sleep. So, if you had not been awake, I should have stolen away as noiselessly as I entered, and left you to have your nap out. Now, however, I think you had better come to breakfast, for Sabella and I finished ours some time ago."
"Thank you, sir," said Winn. "I will be out in half a minute; but will you please explain that painting? I have been studying it ever since I woke."
"That," replied the Captain, with an accent of honest pride, "is what I consider one of my chef-dovers. I term it a 'Shakespearian composite.' In order to please the tastes of certain audiences, I shall describe it as the balcony scene between Romeo and Juliet. Yon may note Romeo's mandolin lying at his feet, while over the whole falls the melancholy light of a full moon rising behind the palace. To suit a less-intelligent class, it would perhaps be described as the escape of a Turkish captive by leaping from the upper floor of the Sultan's seraglio into the arms of her gallant rescuer, who would be American, British, French, German, or Spanish, according to the predominating nationality of my audience. Or it might be called 'A Thrilling Incident of the Great New York Fire,' in which case Juliet's moonlight would be spoken of as 'devastating flames,' and Romeo's mandolin would figure as a fireman's helmet. It is a painting of infinite possibilities, any one of which may be impressed upon an audience by a judiciously selected title and the skilful directing of their imagination. Although I am proud of this picture, I have a number of other 'composites' that are even more startling than this in the variety of scenes that they can be made to illustrate. By studying them you will learn that the whole secret of artistic success lies in the selection of titles that appeal to and direct the imagination of the critic, the spectator, or the would-be purchaser. I would gladly exhibit and explain them to you now, but business before pleasure; so, if you are dressed, let us to breakfast."
While Winn was eating his late breakfast, Billy Brackett, only a couple of miles away, was gazing with an expression of the blankest amazement at his nephew's note-book. "How in the name of all that is mysterious and improbable did this book happen to be in that coat, that coat in that skiff, that skiff on that raft, and that raft here? It certainly seems as though I had brought the skiff from the raft—at least this man says I did. You are certain that I came in that identical boat, are you?"
"Certain, sir," replied the watchman to whom this question was addressed.
"No one else could have come in this skiff, and then gone off in mine by mistake?"
"Impossible, sir. I have been wide-awake all night, and there has not been another soul aboard this wharf-boat until just now. Besides, I took that coat from the skiff just after you left it last evening."