Through her diamond-paned window he saw the wrinkled, white-capped old creature spinning peacefully at the rustic chimney-corner, a pure cloistral crone. It seemed profane to connect such a figure with flirtation—this was surely the very virgin of senility. What a fine picture she made too! Why had he never thought of painting her? Yes, such a picture of 'The Spinster' would be distinctly interesting. And he would put in the Kesubah, the marriage certificate that hung over the mantelpiece, in ironical reminder of her days of bloom. He unlatched the door—he had never been used to knock at grannie's door, and the childish instinct came back to him.

'Guten Abend,' he said.

[316]She adjusted a pair of horn spectacles, and peered at him.

'Guten Abend,' she murmured.

'You don't remember me—Vroomkely.' He used the old childish diminutive of Abraham, though he had almost forgotten he owned the name in full.

'Vroomkely,' she gasped, almost overturning her wheel as she sprang to hug him in her skinny arms. He had a painful sense that she had shrunk back almost to childish dimensions. Her hands seemed trembling as much with decay as with emotion. She hastened to produce from the well-known cupboard home-made Kuchen and other dainties of his youth, with no sense of the tragedy that lay in his no longer being tempted by them.

'And how goes your trade?' she said. 'They say you have never been slack. They must build many houses in Rome.' Her notion that he was a house-painter he hardly cared to contradict, especially as picture-painting was contrary to the Mosaic dispensation.

'Oh, I haven't been only in Rome,' he said evasively. 'I have been in many lands.'

Fire came into her eyes, and flashed through the big spectacles. 'You have been to Palestine?' she cried.

'No, only as far as Egypt. Why?'

'I thought you might have brought me a clod of Palestine earth to put in my grave.' The fire died out of her spectacles, she sighed, and took a consolatory pinch of snuff.

'Don't talk of graves—you will live to be a hundred and more,' he cried. But he was thinking how [317]ridiculous gossip was. It spared neither age nor sexlessness, not even this shrivelled ancient who was meditating on her latter end. Suddenly he became aware of a shadow darkening the doorway. At the same instant the fire leapt back into his grandmother's glasses. Instinctively, almost before he turned his head, he knew it was the hero of the romance.

Yossel Mandelstein looked even less of a hero than the artist had remembered. There had been something wistful and pathetic in the hunchback's expression, some hint of inner eager fire, but this—if he had not merely imagined it—seemed to have died of age and hopelessness. He used crutches, too, to help himself along with, so that he seemed less the hunchback of yore than the conventional contortion of time, and but for the familiar earlocks pendent on either side of the fur cap, but for the great hooked nose and the small chin hidden in the big beard, the artist might have doubted if this was indeed the Yossel he had sometimes mocked at in the crude cruelty of boyhood.

Yossel, propped on his crutches, was pulling out a mouldering black-covered book from under his greasy caftan. 'I have brought you back your Chovoth Halvovoth,' he said.

In the vivid presence of the actual romance the artist could not suppress the smile he had kept back at the mere shadowy recital. In Rome he himself had not infrequently called on young ladies by way of returning books to them. It was true that the books he returned were not Hebrew treatises, but he smiled again to think that the name of Yossel's volume signified 'the duties of the heart.' The Bube Yenta [318]received the book with thanks, and a moment of embarrassment ensued, only slightly mitigated by the offer of the snuffbox. Yossel took a pinch, but his eyes seemed roving in amaze, less over the stranger than over the bespread table, as though he might unaccountably have overlooked some sacred festival. That two are company and three none seemed at this point a proverb to be heeded, and without waiting to renew the hero's acquaintance, the artist escaped from the idyllic cottage. Let the lover profit by the pastry for which he himself was too old.

So the gossips spoke the truth, he thought, his amusement not unblended with a touch of his mo............