The Streets of Ascalon

"I think they're bally fakes," remarked the Earl, "don't you?"

"We'll try to find out," said Quarren, absently.

Dankmere puffed away on his cigar and consulted his list: "Reynolds (Sir Joshua). Portrait of Lady Dankmere," he read; "portrait of Sir Boggs Dankmere! – string 'em up aloft over that jolly little lady with no frock on! – Rembrandt (Van Rijn). Born near Leyden, July 15th, 1607 – Oh, who cares as long as it is a Rembrandt! – Is it, Quarren? It isn't a copy, is it?"

"I hope not," said the young fellow absently.

"Egad! So do I." And to the workmen – "Philemon and Baucis by Rembrandt! Hang 'em up next to that Romney – over the Jan Steen … Quarren?"

"Yes?"

"Do you think that St. Michael's Mount is a real Turner?"

"It looks like it. I can't express opinions off-hand, Dankmere."

"I can," said the little Earl; "and I say that if that is a Turner I can beat it myself working with tomato catsup, an underdone omelette, and a clothes-brush… Hello! I like this picture. The list calls it a Watteau – 'The Fête Champêtre.' What do you know about it, Quarren?"

"Nothing yet. It seems to be genuine enough."

"And this pretty girl by Boucher?"

"I tell you, Dankmere, that I don't know. They all appear to be genuine, after a superficial examination. It takes time to be sure about any picture – and if we're going to be certain it will require confabs with authorities – restorers, dealers, experts, curators from various museums – all sorts and conditions of people must be approached and warily consulted – and paid," he added smiling. "And that has to be done with circumspection because some are not honest and we don't want anybody to get the impression that we are attempting to bribe anybody for a favourable verdict."

A few minutes later he went across the street and telegraphed to Molly Wycherly:

"May I remind you that you asked me to Witch-Hollow?

    Quarren."

The following morning after the workmen had departed, he and Dankmere stood contemplating the transformations wrought in the office, back parlour, and extension of Quarren's floor in the shabby old Lexington Avenue house.

The transformation was complete; all woodwork had been painted white, a gray-green paper hung on the walls, the floor stained dark brown and covered with several antique rugs which had come with the pictures – a Fereghan, a Ladik, and an ancient Herez with rose and sapphire lights in it.

At the end of the suite hung another relic of Dankmere Tarns – a Gobelins tapestry about ten by twelve, signed by Audran, the subject of which was Boucher's "Venus, Mars, and Vulcan" from the picture in the Wallace Collection. Opposite it was suspended an old Persian carpet of the sixteenth century – a magnificent Dankmere heirloom woven in the golden age of ancient Eastern art and displaying amid the soft splendour of its matchless hues the strange and exquisitely arched cloud-forms traced in forgotten dyes amid a wilderness of delicate flowers and vines.

Between these two fabrics, filling the walls from base-board to ceiling, were ranged Dankmere's pictures. Few traces of the real-estate office remained – merely a desk, letter-file, a shelf piled up with maps, and Quarren's shingle outside; but this was now overshadowed by the severely magnificent sign:

THE DANKMERE GALLERY OF OLD MASTERS

Algernon Fayre, R. S. Quarren & Co

For Lord Dankmere, otherwise Algernon Cecil Clarence Fayre, Earl of Dankmere, had decided to dedicate to trade only a portion of his aristocratic appellations. As for the company, it consisted of Quarren's cat, Daisy, and her litter of unweaned kittens.

"Do you realise," said Quarren, dropping into the depths of a new easy-chair, "that you have almost put me out of business?"

"Well, you weren't in very deeply, you know," commented Dankmere.

"No; but last week I went to bed a broker in real estate; and this week I wake up a picture dealer and your partner. It's going to take most of my time. I can't sell a picture unless I know what it is. I've got to find out – or try to. Do you know what that means?"

"I fancy it means chucking your real estate," said Dankmere, imperturbably. "Why not? This is a better gamble. And if we make anything we ought to make something worth while."

"Do you propose that I shall simply drop my entire business – close up everything and go into this thing permanently?" demanded Quarren.

"It will come to that, ultimately. Don't you want to?"

From the beginning Quarren had felt, vaguely, that it would come to that – realised instinctively that in such an enterprise he would be on solid ground – that the idea was pleasant to him – that his tastes fitted him for such an occupation. Experience was lacking, but, somehow, his ignorance did not dismay him.

All his life he had cared for such things, been familiar with them, been curious to learn more, had read enough to understand something of the fascinating problems now confronting him, had, in his hours of leisure, familiarised himself with the best of art in the public and private galleries of the city.

More than that a natural inclination and curiosity had led him among dealers, restorers, brokers of pictures. He knew them all from Fifth Avenue to Lexington, the celebrated and the obscure; he had heard them talk, heard the gossip and scandal of their curious world, watched them buying, selling, restoring, relining, reframing; listened to their discussions concerning their art and the art in which they dealt. And it had always fascinated him although, until Dankmere arrived, it had never occurred to him to make a living out of a heterogeneous mass of partly assimilated knowledge acquired from the sheer love of the subject.

Fortunate the man whose means of livelihood is also his pleasure! Deep in his heart lies the unconscious contentment of certainty.

And somehow, with the advent of Dankmere's pictures, into Quarren's troubled heart had come a vague sensation of ease – a cessation of the old anxiety and unrest – a quiet that he had never before known.

To learn what his wares really were seemed no formidable task; to appreciate and appraise each one only little labours of love. Every problem appeared to him as a separate attraction; the disposal of his stock a delightful and leisurely certainty because he himself would be certain of what he dealt in.

Then, too, his mind had long since invaded a future which day by day grew more alluring in its suggestions. He himself would learn the practical and manual art of restoration – learn how to clean, reline, revarnish; how to identify, how to dissect. Every thread of an ancient canvas should tell him a true story; every grain in an old panel. He would be chief surgeon in his hospital for old and decrepit masterpieces; he would "cradle" with his own hands – clear the opacity from time-dimmed beauty with savant touch, knit up tenderly the wounds of ages —

"Dankmere," he said, throwing away his cigarette, "I'm going into this business from this minute; and I would like to die in harness, at the end, the companion, surgeon, and friend of old-time pictures. Do you think I can make a living at it?"

"God knows. Do you mean that you're really keen on it?"

"Dead keen."

Dankmere puffed on his cigar: "A chap usually makes out pretty well when he's a bit keen on anything of sorts. You'll be owning the gallery, next, you infernal Yankee!"

Quarren laughed: "I won't forget that you gave me my first real chance in the world. You've done it, too; do you realise it, Dankmere?"

"Very glad I'm sure."

"So am I!" said Quarren with sudden emphasis. "I believe I'm on the right track now. I believe it's in me – in my heart – to work – to work!" – he laughed – "as the old chronicles say, 'To the glory of God and the happiness of self and mankind.' … I'm grateful to you; do you understand?"

"Awf'lly glad, old chap."

"You funny Englishman – I believe you are… And we'll make this thing go. Down comes my real-estate shingle; I'm a part of the Dankmere Galleries now. I'll rent the basement after our first sale and there you and I will fuss and tinker and doctor and nurse any poor old derelict of a picture back to its pristine beauty. What?"

"Not I," said the little Earl. "All I'm good for is to furnish the initial stock. You may do what you please with it, and we'll share profits according to contract. Further than that, Quarren, you'll have to count me out."

"Don't you care for pictures?"

"I prefer horses," said the Earl drily – "and, after the stable and kennel, my taste inclines toward Vaudeville." And he cocked up one little leg over the other and whistled industriously at a waltz which he was attempting to compose. He possessed a high, maddening, soprano whistle which Quarren found painful to endure; and he was glad when his lordship departed, jauntily twirling his walking-stick and taking fancy dance steps as far as the front door.

Left alone Quarren leaned back in his chair resting his head against the new olive-tinted velvet.

He had nothing to do but sit there and gaze at the pictures and wait for an answer to his telegram.

It came about dusk and he lighted the gas to read it: