American fiction -- 19th century; Short stories, American
My first impulse was to turn the note over to Eleanor. I had acquitted
myself of my share in the ungrateful business of coming to Mrs. Fontage’s
aid, and if, as her letter denoted, she had now yielded to the closer
pressure of need, the business of finding a purchaser for the Rembrandt
might well be left to my cousin’s ingenuity. But here conscience put in
the uncomfortable reminder that it was I who, in putting a price on the
picture, had raised the real obstacle in the way of Mrs. Fontage’s rescue.
No one would give a thousand dollars for the Rembrandt; but to tell
Mrs. Fontage so had become as unthinkable as murder. I had, in fact, on
returning from my first inspection of the picture, refrained from imparting
to Eleanor my opinion of its value. Eleanor is porous, and I knew that
sooner or later the unnecessary truth would exude through the loose texture
of her dissimulation. Not infrequently she thus creates the misery she
alleviates; and I have sometimes suspected her of paining people in order
that she might be sorry for them. I had, at all events, cut off retreat in
Eleanor’s direction; and the remaining alternative carried me straight to
Mrs. Fontage.
She received me with the same commanding sweetness. The room was even barer
than before--I believe the carpet was gone--but her manner built up about
her a palace to which I was welcomed with high state; and it was as a mere
incident of the ceremony that I was presently made aware of her decision to
sell the Rembrandt. My previous unsuccess in planning how to deal with Mrs.
Fontage had warned me to leave my farther course to chance; and I listened
to her explanation with complete detachment. She had resolved to travel for
her health; her doctor advised it, and as her absence might be indefinitely
prolonged she had reluctantly decided to part with the picture in order
to avoid the expense of storage and insurance. Her voice drooped at the
admission, and she hurried on, detailing the vague itinerary of a journey
that was to combine long-promised visits to impatient friends with various
“interesting opportunities” less definitely specified. The poor lady’s
skill in rearing a screen of verbiage about her enforced avowal had
distracted me from my own share in the situation, and it was with dismay
that I suddenly caught the drift of her assumptions. She expected me to
buy the Rembrandt for the Museum; she had taken my previous valuation as a
tentative bid, and when I came to my senses she was in the act of accepting
my offer.
Had I had a thousand dollars of my own to dispose of, the bargain would
have been concluded on the spot; but I was in the impossible position of
being materially unable to buy the picture and morally unable to tell her
that it was not worth acquiring for the Museum.
I dashed into the first evasion in sight. I had no authority, I explained,
to purchase pictures for the Museum without the consent of the committee.
Public-domain text, read in full here on John Shaqi.
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