“Do you ever wear Mrs. Greene’s shawl, Frau Mannheim?”
“Of course she doesn’t,” Ada cut in.
“And do you ever steal into the library and read after the household is asleep?” pursued Vance.
The woman picked up her sewing morosely, and again lapsed into sullen silence. Vance studied her a moment and then turned back to Ada.
“Do you know of anyone who might have been wearing your mother’s shawl that night?”
“I—don’t know,” the girl stammered, her lips trembling.
“Come; that won’t do.” Vance spoke with some asperity. “This isn’t the time to shield anyone. Who was in the habit of using the shawl?”
“No one was in the habit. …” She stopped and gave Vance a pleading look; but he was obdurate.
“Who, then, besides your mother ever wore it?”
“But I would have known if it had been Sibella I saw—”
“Sibella? She sometimes borrowed the shawl?”
Ada nodded reluctantly. “Once in a great while. She—she admired the shawl. … Oh, why do you make me tell you this!”
“And you have never seen anyone else with it on?”
“No; no one ever wore it except mother and Sibella.”
Vance attempted to banish her obvious distress with a whimsical reassuring smile.
“Just see how foolish all your fears have been,” he said lightly. “You probably saw your sister in the hall that night, and, because you’d been having bad dreams about your mother, you thought it was she. As a result, you became frightened, and locked yourself up and worried. It was rather silly, what?”
A little later we took our leave.
“It has always been my contention,” remarked Inspector Moran, as we rode downtown, “that any identification under strain or excitement is worthless. And here we have a glaring instance of it.”
“I’d like a nice quiet little chat with Sibella,” mumbled Heath, busy with his own thoughts.
“It wouldn’t comfort you, Sergeant,” Vance told him. “At the end of your tête-à-tête you’d know only what the young lady wanted you to know.”
“Where do we stand now?” asked Markham, after a silence.
“Exactly where we stood before,” answered Vance dejectedly, “—in the midst of an impenetrable fog.—And I’m not in the least convinced,” he added, “that it was Sibella whom Ada saw in the hall.”
Markham looked amazed.
“Then who, in Heaven’s name, was it?”
Vance sighed gloomily. “Give me the answer to that one question, and I’ll complete the saga.”
That night Vance sat up until nearly two o’clock writing at his desk in the library.
XXIII
The Missing Fact
(Saturday, December 4; 1 p.m.)
Saturday was the District Attorney’s “half-day” at the office, and Markham had invited Vance and me to lunch at the Bankers Club. But when we reached the Criminal Courts Building he was swamped with an accumulation of work, and we had a tray-service meal in his private conference room. Before leaving the house that noon Vance had put several sheets of closely written paper in his pocket, and I surmised—correctly, as it turned out—that they were what he had been working on the night before.
When lunch was over Vance lay back in his chair languidly and lit a cigarette.
“Markham old dear,” he said, “I accepted your invitation today for the sole purpose of discussing art. I trust you are in a receptive mood.”
Markham looked at him with frank annoyance.
“Damn it, Vance, I’m too confounded busy to be bothered with your irrelevancies. If you feel artistically inclined, take Van here to the Metropolitan Museum. But leave me alone.”
Vance sighed, and wagged his head reproachfully.
“There speaks the voice of America! ‘Run along and play with your aesthetic toys if such silly things amuse you; but let me attend to my serious affairs.’ It’s very sad. In the present instance, however, I refuse to run along; and most certainly I shall not browse about that mausoleum of Europe’s rejected corpses, known as the Metropolitan Museum. I say, it’s a wonder you didn’t suggest that I make the rounds of our municipal statuary.”
“I’d have suggested the Aquarium—”
“I know. Anything to get rid of me.” Vance adopted an injured tone. “And yet, don’t y’ know, I’m going to sit right here and deliver an edifying lecture on aesthetic composition.”
“Then don’t talk too loud,” said Markham, rising; “for I’ll be in the next room working.”
“But my lecture has to do with the Greene case. And really you shouldn’t miss it.”
Markham paused and turned.
“Merely one of your wordy prologues, eh?” He sat down again. “Well, if you have any helpful suggestions to make, I’ll listen.”
Vance smoked a moment.
“Y’ know, Markham,” he began, assuming a lazy, unemotional air, “there’s a fundamental difference between a good painting and a photograph. I’ll admit many painters appear unaware of this fact; and when color photography is perfected—my word! what a horde of academicians will be thrown out of employment! But none the less there’s a vast chasm between the two; and it’s this technical distinction that’s to be the burden of my lay. How, for instance, does Michelangelo’s Moses differ from a camera study of a patriarchal old man with whiskers and a stone tablet? Wherein lie the points of divergence between Rubens’s Landscape with Château de Stein and a tourist’s snapshot of a Rhine castle? Why is a Cézanne still-life an improvement on a photograph of a dish of apples? Why have the Renaissance paintings of Madonnas endured for hundreds of years whereas a mere photograph of a mother and child passes into artistic oblivion at the very click of the lens shutter? …”
He held up a silencing hand as Markham was about to speak.
“I’m not being futile. Bear with me a moment.—The difference between a good painting and a photograph is this: the one is arranged, composed, organized; the other is merely the haphazard impression of a scene, or a segment of realism, just as it exists in nature. In short, the one has form; the other is chaotic. When a true artist paints a picture, d’ ye see, he arranges all the masses and lines to accord with his preconceived idea of composition—that is, he bends
