“Yes,” she answered with a smile.
“H-how's this for the dress, Mr. Painter-man?” said Jethro, with a pride that was ill-concealed.
The painter started up from his seat and took the material in his hands and looked at Cynthia. He belonged to a city club where he was popular for his knack of devising costumes, and a vision of Cynthia as the daughter of a Doge of Venice arose before his eyes. Wonder of wonders, the daughter of a Doge discovered in a New England hill village! The painter seized his pad and pencil and with a few strokes, guided by inspiration, sketched the costume then and there and held it up to Jethro, who blinked at it in astonishment. But Jethro was suspicious of his own sensations.
“Er—well—Godfrey—g-guess that'll do.” Then came the involuntary: “W-wouldn't a-thought you had it in you. How about it, Cynthy?” and he held it up for her inspection.
“If you are pleased, it's all I care about, Uncle Jethro,” she answered, and then, her face suddenly flushing, “You must promise me on your honor that nobody in Coniston shall know about it, 'Mr. Painter-man'.”
After this she always called him “Mr. Painter-man,”—when she was pleased with him.
So the cardinal cloth was come to its usefulness at last. It was inevitable that Sukey Kittredge, the village seamstress, should be taken into confidence. It was no small thing to take Sukey into confidence, for she was the legitimate successor in more ways than one of Speedy Bates, and much of Cynthia and the artist's ingenuity was spent upon devising a form of oath which would hold Sukey silent. Sukey, however, got no small consolation from the sense of the greatness of the trust confided in her, and of the uproar she could make in Coniston if she chose. The painter, to do him justice, was the real dressmaker, and did everything except cut the cloth and sew it together. He sent to friends of his in the city for certain paste jewels and ornaments, and one day Cynthia stood in the old tannery shed—hastily transformed into a studio—before a variously moved audience. Sukey, having adjusted the last pin, became hysterical over her handiwork, Millicent Skinner stared openmouthed, words having failed her for once, and Jethro thrust his hands in his pockets in a quiet ecstasy of approbation.
“A-always had a notion that cloth'd set you off, Cynthy,” said he, “er—next time I go to the state capital you come along—g-guess it'll surprise 'em some.”
“I guess it would, Uncle Jethro,” said Cynthia, laughing.
Jethro postponed two political trips of no small importance to be present at the painting of that picture, and he would sit silently by the hour in a corner of the shed watching every stroke of the brush. Never stood Doge's daughter in her jewels and seed pearls amidst stranger surroundings,—the beam, and the centre post around which the old white horse had toiled in times gone by, and all the piled-up, disused machinery of forgotten days. And never was Venetian lady more unconscious of her environment than Cynthia.