leader, each stepped forward in turn and took their places about the bier.

The ceremony that followed was strange and solemn; one that no outside eye has ever gazed on, no lips have ever dared to breathe. They stood in the shadow of death, their own and another's. Their heads were bowed. Their bodies shook and trembled. With hands raised they took the oath, terrible, relentless, overpowering, gripping them from now on as in a vice; both sexes alike, with voices spent and faint with emotion.

"In the name of the Black Cross I do now pledge myself, an instrument in the service of Justice and Retribution. On whomsoever the choice of Fate shall fall, I vow the sentence of Death shall be fulfilled, by mine own hands if needs be, without weakness, or hesitation, or mercy. And if by any untoward chance this hand should fail, I swear—I swear, before the third day shall have passed, to die instead—to die—instead."

The words ended in a whisper, low, intense, prescient of a woe not to be borne.

"I swear—I pledge myself—by mine own hands if needs be."

A sigh broke the stillness. The masks stirred, recovered themselves and bent over the bier, drawing out, one after the other, a slip of paper folded. There were thirteen slips. Twelve were blank; on one was a Black Cross graven.

They drew in silence; no start, no movement, no trembling of the muscles betrayed the one fated. Twelve drew blanks. Which of them had the Cross; which? They stared dumbly, questioningly, fearfully from one to the other. One was the assassin. Which? The answer was shrouded behind the masks.

Lower and lower the candles burned in their sockets, flickering fitfully. The room grew darker and the figures, cloaked and hooded, seemed to melt back into the shadows from whence they had emerged, less and less distinct, until finally the shadow was one, more and more vapoury, filling the darkness.

Suddenly, a scream cut the silence, like a knife rough and jagged. In a twinkling the lights went out. There was a scuffling, a struggling in the corridor, cries and shouting, the sound of wood splintering, the blows of an axe,—a rushing forward of heavy bodies and the trampling of feet. The doors burst open, and a cordon of police dashed over the wreckage, cursing, shouting—and then stopped on the threshold, staring in amazement and panting with mouths wide open.

"Oï!—Oï! Týsyacha chertéi!"

The room was empty, dark, deserted save for an old woman, half-witted, who was crouching on the floor before the sacred Icon, rocking herself and mumbling. They questioned her, but she was deaf and answered at random:

"Eh, gracious sirs—my lords—eh? So old—so poor, so wretched! See, there is nothing!—A copeck, for the love of heaven—half a copeck—a quarter, only a little quarter! Ah! Rioumka vodki[1]—rioumka—vodki!"

The police brushed her aside and searched the room. In the corner was a low cot, hanging on a nail was an old cloak; on the table the remains of a black loaf and an empty cup. They searched and searched in vain; tapping the walls, tearing at the stone foundations, peering up at the rafters, tumbling over one another in their eagerness.

"Chórt vozmí[2]—!" shouted the captain, "We are on the wrong track. The scream came from the other side. Head them off! Run, men, run! Here, this passage, and then straight ahead! Devil take the old beggar! Shut up, you hag, or I'll strangle you!—Head them off!"

Gradually the hurrying footsteps died away in the distance. The shouting ceased on the stairs. It was still as the grave, silent, deserted. The old woman glanced over her shoulder. She was still crouching before the Icon, rocking herself backwards and forwards; the beads of the rosary slipping through her fingers one by one; mumbling to herself.

Suddenly she stopped and listened. The rosary fell to the floor. Her eyes watched the wreckage of the doorway closely, suspiciously, like an animal before a trap. The shadows encircled her, they were here, there, everywhere; but none moved, none crept.

Snatching a slip of paper from her bosom, she bent over it, her eyes dilated, her mouth twisted with agony. In the centre of the paper, clearly graven against the white, was a Black Cross.

She moaned aloud, wringing her hands. Her teeth gnawed her lips. She clung to the foot of the Icon, sobbing, struggling with herself, glancing around fearfully into the shadows. A gleam from the candle fell on her hood; it had slipped slightly and a strand of her hair hung from under the cowl. It sparkled like gold.

She staggered to her feet, still sobbing and trembling, catching her breath. Then she went to the nail on the wall and took down the cloak. The woman stood alone in the midst of the shadows; they were heavy, motionless. Glancing to right and left, behind her, to the wreckage of the door, to the furthermost corner, back to the Icon again, her eyes roved, darting from side to side like a creature hunted. Clasping the cloak to her quivering bosom she approached the candle slowly, stealthily. Her steps faltered. She hesitated. She stooped forward—another glance over her shoulder, and blowing with feeble breath, the spark went out.

[1] A small glass of brandy.

[2] "The devil take you!"

CHAPTER III

Velasco sat in his Studio before the great tiled fire-place, dreaming, with his violin across his knees. His servant had gone to bed and he was alone.

The coals burned brightly, and the lamp cast a golden, radiant light on the rug at his feet, rich-hued and jewel tinted as the stained rose windows of Notre Dame. Tapestries hung from the walls, a painting here and there, a few engravings. In the centre stood an Erard, a magnificent concert-grand, open, with music strewn on its polished lid in a confusion of sheets; some piled, some fluttering loose, still others flung to the floor where a chance breeze, or a careless hand, may have scattered them. Near it was the exquisite bronze figure of a young satyr playing the flute, the childish arms and limbs, round and molded, glowing rosy and warm in the lamp light. In one corner was a violin stand, a bow tossed heedlessly across it; and all about were boxes, half packed and disordered. The curtains were drawn. The malachite clock on the mantel-piece was striking two.

Velasco stirred suddenly and his dark head turned from the fire light, moving restlessly against the cushions. He was weary. The applause, the uproar of the Mariínski was still in his ears; before his eyes danced innumerable notes, tiny and black, the sound of them boring into his brain.

"Ye gods—ye gods!"

The young Violinist sprang up and began pacing the room, pressing his hands to his eyes to drive away the notes, humming to himself to get rid of the sound, the theme, the one haunting, irrepressible motive. He walked up and down, lighting one cigarette after the other, puffing once, twice, and then hurling it half-smoked into the coals.

Every little while he stopped and seemed to be listening. Then he went back to his seat before the fire-place and flinging himself down began to play, a few bars at a time, stopping and listening, then playing again. As he played, his eyes grew dreamy and heavy, the brows seemed to press upon them until they drooped under the lids, and his dark hair fell like a screen.

When he stopped, a strange, moody look came over his face and he frowned, tapping the rug nervously with his foot. Sometimes he held the violin between his knees, playing on it as on a cello; then he caught it to his breast again in a sudden fury of improvisation—an arpeggio, light and running, his fingers barely touching the strings—the snatch of a theme—a trill, low and passionate—the rush of a scale. He toyed with the Stradivarius mocking it, clasping it, listening.

His overwrought nerves were as pinpoints pricking his body. His