stones by the iron fragments of Quentin Matsys's gate, would stretch
himself and yawn and sigh, and even howl now and then, all in vain,
until the doors closed and the child perforce came forth again, and
winding his arms about the dog's neck would kiss him on his broad,
tawny-colored forehead, and murmur always the same words, "If I could
only see them, Patrasche!--if I could only see them!"

What were they? pondered Patrasche, looking up with large, wistful,
sympathetic eyes.

One day, when the custodian was out of the way and the doors left ajar,
he got in for a moment after his little friend and saw. "They" were two
great covered pictures on either side of the choir.

Nello was kneeling, rapt as in an ecstasy, before the altar-picture of
the Assumption, and when he noticed Patrasche, and rose and drew the dog
gently out into the air, his face was wet with tears, and he looked up
at the veiled places as he passed them, and murmured to his companion,
"It is so terrible not to see them, Patrasche, just because one is poor
and cannot pay! He never meant that the poor should not see them when
he painted them, I am sure. He would have had us see them any day, every
day; that I am sure. And they keep them shrouded there--shrouded! in the
dark, the beautiful things! And they never feel the light, and no eyes
look on them, unless rich people come and pay. If I could only see them,
I would be content to die."

But he could not see them, and Patrasche could not help him, for to gain
the silver piece that the church exacts as the price for looking on the
glories of the "Elevation of the Cross" and the "Descent of the Cross"
was a thing as utterly beyond the powers of either of them as it would