The picture lunged forward, almost before they had touched it, the heavy gilt frame bruising Dorothy’s cheek badly. In catching it, Harlan turned it completely around, then gave a low whistle of astonishment.
Pasted securely to the back was a fearsome skull and cross-bones, made on wrapping paper with a brush and India ink. Below it, in great capitals, was the warning inscription: “LET MY PICTURE ALONE!”
“What shall we do with it?” asked Harlan, endeavouring to laugh, though, as he afterward admitted, he “felt creepy.” “Shall I take it up to the attic?”
“No,” answered Dorothy, in a small, unnatural voice, “leave it where it is.”
While Harlan was putting it back, Dorothy, trembling from head to foot, crept around to the back of the easel which bore Aunt Rebecca’s portrait. She was not at all surprised to find, on the back of it, a notice to this effect: “ANYONE DARING TO MOVE MRS. JUDSON’S PICTURE WILL BE HAUNTED FOR LIFE BY US BOTH.”
“I don’t doubt it,” said Dorothy, somewhat viciously, when Harlan had joined her. “What kind of a woman do you suppose she could have been, to marry him? I’ll bet she’s glad she’s dead!”
Dorothy was still wiping blood from her face and might not have been wholly unprejudiced. Aunt Rebecca was a gentle, sweet-faced woman, if her portrait told the truth, possessed of all the virtues save self-assertion and dominated by habitual, unselfish kindness to others. She could not have been discourteous even to Claudius Tiberius, who at this moment was seated in state upon the sofa and purring industriously.