THE SONG OF THE LARK
pocket, steadied his hand by a visible effort, and under the words
"Lente currite, lente curriie, noctis equi"
he wrote in a clear, elegant Gothic hand,
"Go slowly, go slowly, ye steeds of the night."
He put the pencil back in his pocket and continued to stare at the Latin. It recalled the poem, which he had read as a student, and thought very fine. There were treasures of memory which no lodging-house keeper could attach. One carried things about in one s head, long after one's linen could be smuggled out in a tuning-bag. He handed the paper back to Thea. "There is the English, quite elegant," he said, rising.
Mrs. Kohler stuck her head in at the door, and Thea slid off the stool. "Come in, Mrs. Kohler," she called, "and show me the piece-picture."
The old woman laughed, pulled off her big gardening-gloves, and pushed Thea to the lounge before the object of her delight. The "piece-picture," which hung on the wall and nearly covered one whole end of the room, was the handiwork of Fritz Kohler. He had learned his trade under an old-fashioned tailor in Magdeburg who required from each of his apprentices a thesis: that is, before they left his shop, each apprentice had to copy in cloth some well-known German painting, stitching bits of colored stuff together on a linen background; a kind of mosaic. The pupil was allowed to select his subject, and Fritz Kohler had chosen a popular painting of Napoleon's retreat from Moscow. The gloomy Emperor and his staff were represented as crossing a stone bridge, and behind them was the blazing city, the walls and fortresses done in gray cloth with orange tongues of flame darting about the domes and minarets. Napoleon rode his white horse; Murat, in Oriental dress, a bay charger. Thea was never tired of examining this work, of hearing how long it had taken Fritz to
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