Summary

Arthur Train “The Madonna of the Blackbird” (1913)

The door of No. 4 was open, and a man in a white apron leaned outside, wiping his forehead.
“It’s a devil of a day, M’sieu Badoit,” said Donaque, mopping his temples with a red handkerchief.
“You may well say that!” replied the other, who, being a concierge, was well known to hundreds of cabbies. “It makes everybody so nervous.”
“How is M. Fournier these days?” continued Donaque. “I suppose the loss of the picture has upset him a great deal. They say he knows more than he tells, eh?”
Source: Wikisource

Arthur Train “The Madonna of the Blackbird” (1913)

Donaque bowed. He had been in time. The soul of M. Fournier was his. The director must dance to his tune, march to his whistle, perform when he pulled the string. Now he could take his time. Yes, M. Fournier would lead him to the lost picture.
“M’sieu!” said Donaque in a gentle voice. “I am an agent of the Secret Service of France. I have come to tell you that the whereabouts of the ‘Madonna of the Blackbird’ have been ascertained.”
Source: Wikisource

Arthur Train “The Madonna of the Blackbird” (1913)

The custodians?”
“It was very difficult,” answered Dupré, whose eyes looked very tired. “They are scattered to the four winds of heaven. They all had lived in Paris, of course, but now, strangely enough, they are all over France—in Saumur, Marseilles, Rheims, and even in Caen. I have been traveling day and night, and drinking in pot-houses the balance of the time.”
“I trust you have drunk to some purpose,” smiled Donaque.
“M’sieu shall judge for himself,” answered Dupré. “They are all human oxen, lazy, ignorant, fog-brained, and with a taste for absinthe.
Source: Wikisource

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