Call of the Cumberlands | Page 2

had led her to fashion for her own crowning a headgear of laurel leaves and wild roses. As she stood with the toes of one bare foot twisting in the gratefully cool moss, she laughed with the sheer exhilaration of life and youth, and started out on the table top of the huge rock. But there she halted suddenly with a startled exclamation, and drew instinctively back. What she saw might well have astonished her, for it was a thing she had never seen before and of which she had never heard. Now she paused in indecision between going forward toward exploration and retreating from new and unexplained phenomena. In her quick instinctive movements was something like the irresolution of the fawn whose nostrils have dilated to a sense of possible danger. Finally, reassured by the silence, she slipped across the broad face of the flat rock for a distance of twenty-five feet, and paused again to listen.
At the far edge lay a pair of saddlebags, such as form the only practical equipment for mountain travelers. They were ordinary saddlebags, made from the undressed hide of a brindle cow, and they were fat with tight packing. A pair of saddlebags lying unclaimed at the roadside would in themselves challenge curiosity. But in this instance they gave only the prefatory note to a stranger story. Near them lay a tin box, littered with small and unfamiliar-looking tubes of soft metal, all grotesquely twisted and stained, and beside the box was a strangely shaped plaque of wood, smeared with a dozen hues. That this plaque was a painter's sketching palette was a thing which she could not know, since the ways of artists had to do with a world as remote from her own as the life of the moon or stars. It was one of those vague mysteries that made up the wonderful life of "down below." Even the names of such towns as Louisville and Lexington meant nothing definite to this girl who could barely spell out, "The cat caught the rat," in the primer. Yet here beside the box and palette stood a strange jointed tripod, and upon it was some sort of sheet. What it all meant, and what was on the other side of the sheet became a matter of keenly alluring interest. Why had these things been left here in such confusion? If there was a man about who owned them he would doubtless return to claim them. Possibly he was wandering about the broken bed of the creek, searching for a spring, and that would not take long. No one drank creek water. At any moment he might return and discover her. Such a contingency held untold terrors for her shyness, and yet to turn her back on so interesting a mystery would be insupportable. Accordingly, she crept over, eyes and ears alert, and slipped around to the front of the queer tripod, with all her muscles poised in readiness for flight.
A half-rapturous and utterly astonished cry broke from her lips. She stared a moment, then dropped to the moss-covered rock, leaning back on her brown hands and gazing intently. She sat there forgetful of everything except the sketch which stood on the collapsible easel.
"Hit's purty!" she approved, in a low, musical murmur. "Hit's plumb dead beautiful!" Her eyes were glowing with delighted approval.
She had never before seen a picture more worthy than the chromos of advertising calendars and the few crude prints that find their way into the roughest places, and she was a passionate, though totally unconscious, devotée of beauty. Now she was sitting before a sketch, its paint still moist, which more severe critics would have pronounced worthy of accolade. Of course, it was not a finished picture--merely a study of what lay before her--but the hand that had placed these brushstrokes on the academy board was the sure, deft hand of a master of landscape, who had caught the splendid spirit of the thing, and fixed it immutably in true and glowing appreciation. Who he was; where he had gone; why his work stood there unfinished and abandoned, were details which for the moment this half-savage child-woman forgot to question. She was conscious only of a sense of revelation and awe. Then she saw other boards, like the one upon the easel, piled near the paint -box. These were dry, and represented the work of other days; but they were all pictures of her own mountains, and in each of them, as in this one, was something that made her heart leap.
To her own people, these steep hillsides and "coves" and valleys were a matter of course. In their stony soil, they labored by day: and in their shadows slept when work was done. Yet, someone had discovered that they held