III

Mr. Skale, he saw, had fastened the little sheet of glass by its four corners to silken strings hanging from the ceiling. The glass plate hung, motionless and horizontal, in the air with its freight of sand. For several minutes the clergyman played a series of beautiful modulations in double-stopping upon the violin. In these the dominating influence was E flat. Spinrobin was not musical enough to describe it more accurately than this. Only, with greater skill than he knows, he mentions how Skale drew out of that fiddle the peculiarly intimate and searching tones by which strings can reach the spiritual center of a man and make him respond to delicate vibrations of thoughts beyond his normal gamut….

Spinrobin, listening, understood that he was a greater man than he knew….

And the sand on the glass sheet, he next became aware, was shifting, moving, dancing. He heard the tiny hissing and rattling of the dry grains. It was uncommonly weird. This visible and practical result made the clergyman's astonishing words seem true and convincing. That moving sand brought sanity, yet a certain curious terror of the unknown into it all.

A minute later Mr. Skale stopped playing and beckoned to him.

"See," he said quietly, pointing to the arrangement the particles of sand had assumed under the influence of the vibrations. "There's your pattern—your sound made visible. That's your utterance—the Note you substantially represent and body forth in terms of matter."

The secretary stared. It was a charming but very simple pattern the lines of sand had assumed, not unlike the fronds of a delicate fern growing out of several small circles round the base.

"So that's my note—made visible!" he exclaimed under his breath. "It's delightful; it's quite exquisite."

"That's E flat," returned Mr. Skale in a whisper, so as not to disturb the pattern; "if I altered the note, the pattern would alter too. E natural, for instance, would be different. Only, luckily, you are E flat—just the note we want. And now," he continued, straightening himself up to his full height, "come over and see mine and Miriam's and Mrs. Mawle's, and you'll understand what I meant when I said that yours would harmonize." And in a glass case across the room they examined a number of square sheets of glass with sand upon them in various patterns, all rendered permanent by a thin coating of a glue-like transparent substance that held the particles in position.

"There you see mine and Miriam's and Mrs. Mawle's," he said, stooping to look. "They harmonize most beautifully, you observe, with your own."

It was, indeed, a singular and remarkable thing. The patterns, though all different, yet combined in some subtle fashion impossible of analysis to form a complete and well-proportioned Whole—a design—a picture. The patterns of the clergyman and the housekeeper provided the base and foreground, those of Miriam and the secretary the delicate superstructure. The girl's pattern, he noted with a subtle pleasure, was curiously similar to his own, but far more delicate and waving. Yet, whereas his was floral, hers was stellar in character; that of the housekeeper was spiral, and Mr. Skale's he could only describe as a miniature whirlwind of very exquisite design rising out of apparently three separate centers of motion.

"If I could paint over them the color each shade of sound represents,"
Mr. Skale resumed, "the tint of each timbre , or Klangfarbe , as the
Germans call it, you would see better still how we are all grouped
together there into a complete and harmonious whole."

Spinrobin looked from the patterns to his companion's great face bending there beside him. Then he looked back again at the patterns. He could think of nothing quite intelligible to say. He noticed more clearly every minute that these dainty shapes of sand, stellar, spiral, and floral, stood to one another in certain definite proportions, in a rising and calculated ratio of singular beauty.

"There, before you, lies a true and perfect chord made visible," the clergyman said in tones thrilling with satisfaction, "—three notes in harmony with the fundamental sound, myself, and with each other. My dear fellow, I congratulate you, I congratulate you."

"Thank you very much, indeed," murmured Spinrobin. "I don't quite understand it all yet, but it's—it's extraordinarily fascinating and wonderful."

Mr. Skale said nothing, and Spinrobin drifted back to his big armchair. A deep silence pervaded the room for the space of several minutes. In the heart of that silence lay the mass of direct and vital questions the secretary burned, yet was afraid, to ask. For such was the plain truth; he yearned to know, yet feared to hear. The Discovery and the Experiment of this singular man loomed already somewhat vast and terrible; the adjective that had suggested itself before returned to him—"not permissible." … Of Mr. Skale himself he had no sort of fear, though a growing and uncommon respect, but of the purpose Mr. Skale had in view he caught himself thinking more and more, yet without obvious reason, with a distinct shrinking almost amounting to dismay. But for the fact that so sweet and gentle a creature as Miriam was traveling the same path with him, this increased sense of caution would have revealed itself plainly for what it was—Fear….

"I am deeply interested, Mr. Skale," he said at length, breaking first the silence, "and sympathetic too, I assure you; only—you will forgive me for saying it—I am, as yet, still rather in the dark as to where all this is to lead—" The clergyman's eyes, fixed straight upon his own, again made it difficult to finish the sentence as he wished.

"Necessarily so, because I can only lead you to my discovery step by step," replied the other steadily. "I wish you to be thoroughly prepared for anything that may happen, so that you can deal intelligently with results that might otherwise overwhelm you."

"Overwhelm—?" faltered his listener.

" Might , I said. Note carefully my use of words, for they are accurately chosen. Before I can tell you all I must submit you, for your own sake, to certain tests—chiefly to the test of Alteration of Form by Sound. It is somewhat—er—alarming, I believe, the first time. You must be thoroughly accustomed to these astonishing results before we dare to approach the final Experiment; so that you will not tremble. For there can be no rehearsal. The great Experiment can only be made once … and I must be as sure as possible that you will feel no terror in the face of the Unknown." YFpgdJl8IGkR9e7uuQpw0jr8k92omi+kwXRYm7uKMn/nbzL9MdPPEyM/kLMFMyOV