"Yes," was all she said, and it was as if she spoke of a tree coming to
its leaf, the wind to its height, the tide to its flood.
Had he been less rapt and triumphant he must have wondered more at that
icy lassitude, and at the cloak of ceremony she wrapped about her to
hide a terror. It was queer to hear the chill urbanity of her: "This is
Christopher, Nelson; Christopher, this is your father's servant,
Nelson." It was queerer still to see the fastidious decorum with which
she led him over this, the familiar house of his fathers.
He might have been a stranger, come with a guide-book in his hand. When
he stood on his heels in the big drawing-room, staring up with all his
eyes at the likenesses of those men he had known so well, it was strange
to hear her going on with all the patter of the gallery attendant, names
of painters, prices, dates. He stood before the portrait of Daniel Kain,
his father, a dark-skinned, longish face with a slightly-protruding
nether lip, hollow temples, and a round chin, deeply cleft. As in all
the others, the eyes, even in the dead pigment, seemed to shine with an
odd, fixed luminosity of their own, and like the others from first to
last of the line, it bore upon it the stamp of an imperishable youth.
And all the while he stood there, drinking it in, detail by detail, his
mother spoke, not of the face, but of the frame, some obscure and
unsuspected excellence in the gold-leaf on the frame.
More than once in that stately tour of halls and chambers he found
himself protesting gaily, "I know, Mother! I know, I know!"
But the contagion of his glory did not seem to touch her.
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