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Irving interrupted this statement with a start of surprise.
"That's what the doctor did when I suggested the idea to him," Tourtelle continued, noting the effect of his suggestion. "He wanted to know why I wished to save the arm, and I replied that it was for two reasons: first, because I thought it would make an excellent souvenir; second, because it was tattooed in a very artistic manner and I don't want to lose the art. I'm of an artistic temperament, and it would break my heart more to lose that bit of tattooing on my arm than to lose the arm and keep the art."
"I think I get you," said Irving with a smile. "You want me to put the arm in alcohol and preserve it, tattooing and all?"
"That's a clever inference, but not quite to the point," Tourtelle commented without much change of expression on his face. "The doctor offered a substitute suggestion, and that's what I'm going to put to you now."
The patient paused a moment or two, and Irving waited expectantly for the next development in the strange narrative of novel events.
CHAPTER VIII
CUBIST ART
"Yes, I am of an artistic temperament," Lieut. Tourtelle continued in a sort of dreamy way, which tended rather to give his audience-of-one "the creeps" than to "soften his soul," as art is supposed to do.
"If he's an artist, he ought to be painting kaisers, crown princes, Hindenburgs, and Ludendorfs with horns on their heads and arrow-tipped tails," he thought grimly. "But maybe he means it all right. Perhaps he really believes he has artistic temperament, but hasn't sized himself up right. A few years ago I thought I could write poetry, but found I couldn't even write an acceptable advertisement in verse for sentimental candy or floating soap. I'll humor 'im a while and see what's on 'is mind."
Tourtelle's mind was wandering now, either with a purpose in view or because of a real genius delusion. He rambled along thus:
"I made a study of art ever since I was old enough to daub with a little box of colors and a paint brush. When I was old enough to attempt something better than a smear, I went to an art school and there made quite a hit with the professors with some of my novel ideas. Then when that craze of the cubists and the futurists swept the country a few years ago, I took it up and made quite a hit with some of my paintings. One painting in particular, a cubist production representing a basket of eggs spilling down a stairway, was regarded as a student masterpiece. The praise I received over that work intoxicated me, I guess, for I caused a copy of it to be tattooed on my arm by a fellow student.
"Well, the original was lost and I had only the copy on my arm. So, you see, I became very fond of that copy, as the original was acknowledged to be worthy of exhibition along with masterpieces of well known painters. By the way, you remember something of that cubist craze a few years ago, don't you?"
"Yes," Irving replied, "I remember something about it. There was a good deal about it in the magazines. I suppose I recall it because it was so perfectly crazy. Those artists seemed to take great delight in making a human being look as if he had gone through a threshing machine and afterwards raided a hornet's nest."
"You've got the idea exactly-I mean the layman's idea," said the self-styled cubist enthusiastically. "And I don't blame you, in a way. But if you could only have got an artist's view of the idea, you'd look at life a good deal differently. But that's neither here nor there. Oh, yes, it is, too-I forgot myself on the moment. It's here-on my arm-and I want to save it. Now, this is what the doctor told me to do. He told me to peel off the skin where the tattooing is, as soon as the arm is sawed off. That is, he didn't tell me to do it myself, for I'd be in no condition to perform such an operation on my amputated limb. He meant that's the way it should be done. But I don't believe he'd ever look after the job himself. He'd cut the arm off while I'm under the influence of ether, and that 'u'd be the last I'd ever see of it, including the miniature copy of my painting.
"So I decided to get somebody else to look after the matter, and that's what I called you here for. It isn't much of a job. All you have to do is to cut the skin around the tattooing and peel it off, then pack it in salt to preserve it. The doctor said it would peel off easily and that salt packing would keep the skin and the tattooed colors in good condition. The nurse got me a little box and some salt, so everything is ready as soon as the doctor comes along with his saw."
"When is he coming?" Irving inquired.
"Sometimes this afternoon, he said," Tourtelle replied. "What do you think about it, Ellis? Will you do me the favor?"
"Sure," the private answered with a smile. "I'm sorry you're going to lose your arm, but I'll take care of your cubist art for you with pleasure. I'm really very curious to see what it looks like."
"I'd roll up my sleeve and show you, but I'm afraid I'd hurt my arm," the "second looie" said in response.
"Oh, no," Irving returned hurriedly, "I wouldn't have you do that for anything. But I'll kind o' hang around until the surgeon comes. If I'm not here right on the dot, the nurse'll be able to find me without much trouble."
CHAPTER IX
BOB'S LETTER
Irving almost forgot that there had ever been any difficulty between him and Lieut. Tourtelle in contemplation of the novel service he had promised to perform. Perhaps his remembrance of that trouble had been smothered by his curiosity as to the character of this tattooed copy of a "Basket of Eggs Spilling Down Stairs."
The surgeon came at 3 o'clock in the afternoon and got busy at once. However, before administering the ether, he acknowledged an introduction to Private Ellis and promised to "skin the tattoo off the arm" after the amputation and turn it over to its delegated caretaker.
Irving was permitted to be present during the operation. He watched with a good deal of curiosity for a first vision of the cubist art on the patient's arm, and was not at all disappointed. It surely was a clever piece of work, from the point of view of a votary of this sort of art. This was the conclusion of all who saw the operation, and it was the general subject of conversation until the arm was removed.
The surgeon took more interest in the subject now than he had taken at any time previously. This doubtless was due to the special preparations made by the patient for the preservation of the tattooed skin. While the ether was being administered by a nurse, he bared the wounded arm and examined the "copy of quaint art" with interest.
"What does he call this picture?" the "military sawbones" asked as he gazed at the seemingly unmethodical arrangement of distorted "cubes" of all sorts of shapes and angles.
The patient was not yet unconscious, although the nurse was dropping ether into the mask covering his mouth and nose. In a low dreamy voice he answered the question thus:
"It's 'The Basket of Eggs Spilling Down Stairs.'"
The surgeon and the two attending nurses laughed at this answer.
"His mind is wandering under the anæsthetic," said the surgeon.
"No, it isn't," Irving interposed. "He told you the same thing he told me. You see, he's a cubist. That's his idea of art. That tattooing on his arm is a copy of a picture painted by him when he was a student in an art school. That's the story he told me this morning."
The expression on the surgeon's face went through a motion-picture metamorphosis while the boy onlooker was making his statement. First it indicated a kind of professional resentment at the contradiction; then followed a wave of incredulity, succeeded by an enigmatical smirk. As he cast a glance of still-smirking amusement at young Ellis, the latter interpreted it to mean that he questioned the sanity of the patient.