University of Virginia Library

1. I

THE news of Professor Gridley's death filled Middletown College with consternation. Its one claim to distinction was gone, for in spite of the excessive quiet of his private life, he had always cast about the obscure little college the shimmering aura of greatness. There had been no fondness possible for the austere old thinker, but Middletown village, as well as the college, had been touched by his fidelity to the very moderate attractions of his birthplace. When, as often happened, some famous figure was seen on the streets, people used to say first, "Here to see old Grid, I suppose," and then, "Funny how he sticks here. They say he was offered seven thousand at the University of California." In the absence of any known motive for this steadfastness, the village legend-making instinct had evolved a theory that he did not wish to move away from a state of which his father had been governor, and where the name of Gridley was like a patent of nobility.

And now he was gone, the last of the race. His disappearance caused the usual amount of reminiscent talk among his neighbors. The older people recalled the by-gone scandals connected with his notorious and popular father and intimated with knowing nods that there were plenty of other descendants of the old governor who were not entitled legally to bear the name; but the younger ones, who had known only the severely ascetic life and cold personality of the celebrated scholar, found it difficult to connect him with such a father. In their talk they brought to mind the man himself, his queer shabby clothes, his big stooping frame, his sad black eyes, absent almost to vacancy as though always fixed on high and distant thoughts; and those who had lived near him told laughing stories about the crude and countrified simplicity of his old aunt's housekeeping—it was said that the president of Harvard had been invited to join them once in a Sunday evening meal of crackers and milk—but the general tenor of feeling was, as it had been during his life, of pride in his great fame and in the celebrated people who had come to see him.

This pride warmed into something like affection when, the day after his death, came the tidings that he had bequeathed

to his college the Gino Sprague Falleres portrait of himself. Of course, at that time, no one in Middletown had seen the picture, for the philosopher's sudden death had occurred, very dramatically, actually during the last sitting. He had, in fact, had barely one glimpse of it himself, as, according to Falleres's invariable rule, no one, not even the subject of the portrait, had been allowed to examine an unfinished piece of work. But, though Middletown had no first-hand knowledge of the picture, there could be no doubt about the value of the canvas. As soon as it was put on exhibition in London, from every art-critic in the three nations who claimed Falleres for their own, there rose a wail that this masterpiece was to be buried in an unknown college in an obscure village in barbarous America. It was confidently stated that it would be saved from such an unfitting resting-place by strong action on the part of an International Committee of Artists; but Middletown, though startled by its own good fortune, clung with Yankee tenacity to its rights. Raphael Collin, of Paris, commenting on this in the Revue des Deux Mondes, cried out whimsically upon the woes of an art-critic's life, "as if there were not already enough wearisome pilgrimages necessary to remote and uncomfortable places with jaw-breaking names, which must nevertheless be visited for the sake of a single picture!" And a burlesque resolution to carry off the picture by force was adopted at the dinner in London given in honor of Falleres the evening before he set off for America to attend the dedicatory exercises with which Middletown planned to install its new treasure.

For the little rustic college rose to its one great occasion. Bold in their confidence in their dead colleague's fame, the college authorities sent out invitations to all the great ones of the country. Those to whom Gridley was no more than a name on volumes one never read, came because the portrait was by Falleres, and those who had no interest in the world of art came to honor the moralist whose noble clear-thinking had simplified the intimate problems of modern life. There was the usual residuum of those who came because the others did, and, also as usual, they were among the most brilliant figures in the procession which filed along, one October morning, under the old maples of Middletown campus.

It was a notable celebration. A bishop opened the exercises with prayer, a United States senator delivered the eulogy of the dead philosopher, the veil uncovering the portrait was drawn away by the mayor of one of America's largest cities, himself an ardent Gridleyite, and among those who spoke afterward were the presidents of three great universities. The professor's family was represented but scantily. He had had one brother, who had disappeared many years ago under a black cloud of ill report, and one sister who had married and gone West to live. Her two sons, middle-aged merchants from Ohio, gave the only personal note to the occasion by their somewhat tongue-tied and embarrassed presence, for Gridley's aunt was too aged and infirm to walk with the procession from the Gymnasium, where it formed, to the Library building where the portrait was installed.

After the inevitable photographers had made their records of the memorable gathering the procession began to wind its many-colored way back to the Assembly Hall, where it was to lunch. Every one was feeling relieved that the unveiling had gone off so smoothly, and cheerful at the prospect of food. The undergraduates began lustily to shout their college song, which was caught up by the holiday mood of the older ones. This cheerful tumult gradually died away in the distance, leaving the room of the portrait deserted in an echoing silence. A janitor began to remove the rows of folding chairs. The celebration was over.

Into the empty room there now limped forward a small, shabby old woman with a crutch. "I'm his aunt, that lived with him," she explained apologetically, "and I want to see the picture."

She advanced, peering near-sightedly at the canvas. The janitor continued stacking up chairs until he was stopped by a cry from the new-comer. She was a great deal paler than when she came in. She was staring hard at the portrait and now beckoned him wildly to do the same. "Look at it! Look at it!"

Surprised, he followed the direction of her shaking hand. "Sure, it's Professor Grid to the life!" he said admiringly.

[illustration omitted]

"Look at it! Look at it!" She seemed not to be able to find any other words.

After a prolonged scrutiny he turned to her with a puzzled line between his eyebrows. "Since you've spoken of it, ma'am, I will say that there's a something about the expression of the eyes . . . and mouth, maybe . . . that ain't just the professor. He was more absent-like. It reminds me of somebody else . . . of some face I've seen . . ."

She hung on his answer, her mild, timid old face drawn like a mask of tragedy. "Who? Who?" she prompted him.

For a time he could not remember, staring at the new portrait and scratching

his head. Then it came to him suddenly: "Why, sure, I ought to ha' known without thinkin', seeing the other picture as often as every time I've swep' out the president's office. And Professor Grid always looked like him some, anyhow."

The old woman leaned against the wall, her crutch trembling in her hand. Her eyes questioned him mutely.

"Why, ma'am, who but his own father, to be sure . . . the old governor."