by M. R. James
One was a battle, with cannon belching out smoke, and walled towns, and troops of pikemen. Another showed an execution. In a third, among trees, was a man running at full speed, with flying hair and outstretched hands. After him followed a strange form. It would be hard to say whether the artist had intended it for a man, and was unable to give it the requisite similitude, or whether it was intentionally made as monstrous as it looked. In view of the skill with which the rest of the drawing was done, Mr. Wraxall felt inclined to adopt the latter idea.
The figure was unduly short, and was for the most part muffled in a hooded garment which swept the ground. The only part of the form which projected from that shelter was not shaped like any hand or arm. Mr. Wraxall compares it to the tentacle of a devil-fish, and continues: On seeing this, I said to myself, “This, then which is evidently an allegorical representation of some kind—a fiend pursuing a hunted soul—may be the origin of the story of Count Magnus and his mysterious companion. Let us see how the huntsman is pictured: doubtless it will be a demon blowing his horn.”
But, as it turned out, there was no such sensational figure, only the semblance of a cloaked man on a hillock, who stood leaning on a stick, and watching the hunt with an interest which the engraver had tried to express in his attitude.
Mr. Wraxall noted the finely worked and massive steel padlocks—three in number—which secured the sarcophagus. One of them, he saw, was detached, and lay upon the pavement. And then, unwilling to delay the deacon longer or waste his own working-time, he made his way onward to the manor-house.
It is curious, he notes, how, on retracing a familiar path, one’s thoughts engross one to the absolute exclusion of surrounding objects. Tonight, for the second time, I had entirely failed to notice where I was going (I had planned a private visit to the tomb-house to copy the epitaphs), when I suddenly, as it were, awoke to consciousness, and found myself (as before) turning in at the churchyard gate, and, as I believe, singing or chanting some such words as, “Are you awake, Count Magnus? Are you asleep, Count Magnus?” and then something more which I have failed to recollect. It seemed to me that I must have been behaving in this nonsensical way for some time.
He found the key of the mausoleum where he had expected to find it, and copied the greater part of what he wanted. In fact, he stayed until the light began to fail him.
I must have been wrong, he writes, in saying that one of the locks of the Count’s sarcophagus was unfastened; I see tonight that two are loose. I picked both up, and laid them carefully on the window-ledge, after trying unsuccessfully to close them. The remaining one is still firm, and, though I take it to be a spring lock, I cannot guess how it is opened. Had I succeeded in undoing it, I am almost afraid I should have taken the liberty of opening the sarcophagus. It is strange, the interest I feel in the personality of this, I fear, somewhat ferocious and grim old noble.
The day following was, as it turned out, the last of Mr. Wraxall’s stay at Råbäck. He received letters connected with certain investments which made it desirable that he should return to England. His work among the papers was practically done, and traveling was slow. He decided, therefore, to make his farewells, put some finishing touches to his notes, and be off.
These finishing touches and farewells, as it turned out, took more time than he had expected. The hospitable family insisted on his staying to dine with them—they dined at three—and it was verging on half-past six before he was outside the iron gates of Råbäck.
He dwelled on every step of his walk by the lake, determined to saturate himself, now that he trod it for the last time, in the sentiment of the place and hour.
And when he reached the summit of the churchyard knoll, he lingered for many minutes, gazing at the limitless prospect of woods near and distant, all dark beneath a sky of liquid green.
When at last he turned to go, the thought struck him that surely he must bid farewell to Count Magnus as well as the rest of the De la Gardies. The church was but twenty yards away, and he knew where the key of the mausoleum hung.
It was not long before he was standing over the great copper coffin, and as usual, talking to himself aloud: “You may have been a bit of a rascal in your time, Magnus,” he was saying, “but for all that I should like to see you, or rather—”
Just at that instant, he says, I felt a blow on my foot. Hastily enough I drew it back, and something fell on the pavement with a clash. It was the third, the last of the three padlocks which had fastened the sarcophagus. I stooped to pick it up, and—Heaven is my witness that I am writing only the bare truth—before I had raised myself there was a sound of metal hinges creaking, and I distinctly saw the lid shifting upward.
I may have behaved like a coward, but I could not for my life stay for one moment. I was outside that dreadful building in less time than I can write—almost as quickly as I could have said—the words. And what frightens me yet more, I could not turn the key in the lock.
As I sit here in my room noting these facts, I ask myself (it was not twenty minutes ago) whether that noise of creaking metal continued, and I cannot tell whether it did or not. I only know that there was something more than I have written that alarmed me, but whether it was sound or sight I am not able to remember. What is this that I have done?
Poor Mr. Wraxall! He set out on his journey to England on the next day, as he had planned, and he reached England in safety. And yet, as I judge from his changed hand and inconsequent jottings, a broken man. One of the several small notebooks that have come to me with his papers gives, not a key to, but a kind of inkling of, his experiences.
Much of his journey was by canal-boat, and I find not less than six painful attempts to enumerate and describe his fellow-passengers. The entries are of this kind:
24. Pastor of village in Skåne. Usual black coat and soft black hat.
25. Commercial traveler from Stockholm going to Trollhättan. Black cloak, brown hat. 26. Man in long black cloak, broad-leafed hat, very old-fashioned.
This entry is lined out, and a note added: Perhaps identical with No. 13. Have not yet seen his face. On referring to No. 13, I find that he is a Roman priest in a cassock.
The net result of the reckoning is always the same. Twenty-eight people appear in the enumeration, one being always a man in a long black cloak and broad hat, and the other a “short figure in dark cloak and hood.” On the other hand, it is always noted that only twenty-six passengers appear at meals, and that the man in the cloak is perhaps absent, and the short figure is certainly absent.
On reaching England, it appears that Mr. Wraxall landed at Harwich, and that he resolved at once to put himself out of the reach of some person or persons whom he never specifies, but whom he had evidently come to regard as his pursuers.
Accordingly he took a vehicle—it was a closed fly—not trusting the railway, and drove across country to the village of Belchamp St. Paul.
It was about nine o’clock on a moonlit August night when he neared the place. He was sitting forward, and looking out of the window at the fields and thickets—there was little else to be seen—racing past him.
Suddenly he came to a cross-road. At the corner two figures were standing motionless. Both were in dark cloaks; the taller one wore a hat, the shorter a hood. He had no time to see their faces, nor did they make any motion that he could discern. Yet the horse shied violently and broke into a gallop, and Mr. Wraxall sank back into his seat in something like desperation. He had seen them before.
Arrived at Belchamp St. Paul, he was fortunate enough to find a decent furnished lodging, and for the next twenty-four hours he lived, comparatively speaking, in peace.
His last notes were written on this day. They are too disjointed and ejaculatory to be given here in full, but the substance of them is clear enough. He is expecting a visit from his pursuers—how or when he knows not—and his constant cry is “What has he done?” and “Is there no hope?” Doctors, he knows, would call him mad, policemen would laugh at him. The parson
is away. What can he do but lock his door and cry to God?
People still remember last year at Belchamp St. Paul how a strange gentleman came one evening in August years back, and how the next morning but one he was found dead, and there was an inquest; and the jury that viewed the body fainted, seven of ’em did, and none of ’em wouldn’t speak to what they see, and the verdict was visitation of God; and how the people as kep’ the ’ouse moved out that same week, and went away from that part.
But they do not, I think, know that any glimmer of light has been thrown, or could be thrown, on the mystery.
It so happened that last year the little house came into my hands as part of a legacy. It had stood empty since 1863, and there seemed no prospect of letting it. So I had it pulled down, and the papers of which I have given you an abstract were found in a forgotten cupboard under the window in the best bedroom.
The Mezzotint
SOME TIME AGO I believe I had the pleasure of telling you the story of an adventure which happened to a friend of mine by the name of Dennistoun, during his pursuit of objects of art for the museum at Cambridge.
He did not publish his experiences very widely upon his return to England, but they could not fail to become known to a good many of his friends, and among others to the gentleman who at that time presided over an art museum at another University.
It was to be expected that the story should make a considerable impression on the mind of a man whose vocation lay in lines similar to Dennistoun’s, and that he should be eager to catch at any explanation of the matter which tended to make it seem improbable that he should ever be called upon to deal with so agitating an emergency.
It was, indeed, somewhat consoling to him to reflect that he was not expected to acquire ancient MSS. for his institution; that was the business of the Shelburnian Library. The authorities of that might, if they pleased, ransack obscure corners of the Continent for such matters.
He was glad to be obliged at the moment to confine his attention to enlarging the already unsurpassed collection of English topographical drawings and engravings possessed by his museum.
Yet, as it turned out, even a department so homely and familiar as this may have its dark corners, and to one of these Mr. Williams was unexpectedly introduced.
Those who have taken even the most limited interest in the acquisition of topographical pictures are aware that there is one London dealer whose aid is indispensable to their researches. Mr. J.W. Britnell publishes at short intervals very admirable catalogs of a large and constantly changing stock of engravings, plans, and old sketches of mansions, churches, and towns in England and Wales.
These catalogs were, of course, the ABC of his subject to Mr. Williams: but as his museum already contained an enormous accumulation of topographical pictures, he was a regular, rather than a copious, buyer; and he rather looked to Mr. Britnell to fill up gaps in the rank and file of his collection than to supply him with rarities.
Now, in February of last year there appeared upon Mr. Williams’ desk at the museum a catalog from Mr. Britnell’s emporium, and accompanying it was a typewritten communication from the dealer himself. This latter ran as follows:
DEAR SIR—
We beg to call your attention to No. 978 in our accompanying catalog, which we shall be glad to send on approval.
Yours faithfully,
J.W. BRITNELL
To turn to No. 978 in the accompanying catalog was with Mr. Williams (as he observed to himself) the work of a moment, and in the place indicated he found the following entry:
978.—Unknown. Interesting mezzotint: View of a manor-house, early part of the century. 15 by 10 inches; black frame. £2 2s.
It was not especially exciting, and the price seemed high. However, as Mr. Britnell, who knew his business and his customer, seemed to set store by it, Mr. Williams wrote a postcard asking for the article to be sent on approval, along with some other engravings and sketches which appeared in the same catalog.
And so he passed without much excitement of anticipation to the ordinary labors of the day.
A parcel of any kind always arrives a day later than you expect it, and that of Mr. Britnell proved, as I believe the right phrase goes, no exception to the rule.
It was delivered at the museum by the afternoon post of Saturday, after Mr. Williams had left his work, and it was accordingly brought over to his rooms in college by the attendant, in order that he might not have to wait over Sunday before looking through it and returning such of the contents as he did not propose to keep.
And here he found it when he came in to tea, with a friend.
The only item with which I am concerned was the rather large, black-framed mezzotint of which I have already quoted the short description given in Mr. Britnell’s catalog. Some more details of it will have to be given, though I cannot hope to put before you the look of the picture as clearly as it is present to my own eye.
Very nearly the exact duplicate of it may be seen in a good many old inn parlors, or in the passages of undisturbed country mansions at the present moment. It was a rather indifferent mezzotint, and an indifferent mezzotint is, perhaps, the worst form of engraving known.
It presented a full-face view of a not very large manor-house of the last century, with three rows of plain sashed windows with rusticated masonry about them, a parapet with balls or vases at the angles, and a small portico in the center. On either side were trees, and in front considerable expanse of lawn.
The legend A.W.F. sculpsit was engraved on the narrow margin, and there was no further inscription.
The whole thing gave the impression that it was the work of an amateur. What in the world Mr. Britnell could mean by affixing the price of £2 2s. to such an object was more than Mr. Williams could imagine.
He turned it over with a good deal of contempt. Upon the back was a paper label, the left-hand half of which had been torn off. All that remained were the ends of two lines of writing: the first had the letters—ngley Hall; the second,—ssex.
It would, perhaps, be just worthwhile to identify the place represented, which he could easily do with the help of a gazetteer, and then he would send it back to Mr. Britnell, with some remarks reflecting upon the judgment of that gentleman.
He lighted the candles, for it was now dark, made the tea, and supplied the friend with whom he had been playing golf (for I believe the authorities of the University I write of indulge in that pursuit by way of relaxation). And tea was taken to the accompaniment of a discussion which golfing persons can imagine for themselves, but which the conscientious writer has no right to inflict upon any nongolfing persons.
The conclusion arrived at was that certain strokes might have been better, and that in certain emergencies neither player had experienced that amount of luck which a human being has a right to expect.
It was now that the friend—let us call him Professor Binks—took up the framed engraving, and said:
“What’s this place, Williams?”
“Just what I am going to try to find out,” said Williams, going to the shelf for a gazetteer. “Look at the back. Somethingley Hall, either in Sussex or Essex. Half the name’s gone, you see. You don’t happen to know it, I suppose?”
“It’s from that man Britnell, I suppose, isn’t it?” said Binks. “Is it for the museum?”
“Well, I think I should buy it if the price was five shillings,” said Williams; “but for some unearthly reason he wants two guineas for it. I can’t conceive why. It’s a wretched engraving, and there aren’t even any figures to give it life.”
“It’s not worth two guineas, I should think,” said Binks. “But I don’t think it’s so badly done. The moonlight seems rather good to me. And I should have thought there were figures, or at least a figure just on the edge in front.”
“Let’s look,” said Williams. “Well, it’s true the light is rather cleverly given. Where’s your figure? Oh yes! Just the head, in the very front of the picture.”
And in
deed there was—hardly more than a black blot on the extreme edge of the engraving—the head of a man or woman, a good deal muffled up, the back turned to the spectator, and looking toward the house.
Williams had not noticed it before.
“Still,” he said, “though it’s a cleverer thing than I thought, I can’t spend two guineas of museum money on a picture of a place I don’t know.”
Professor Binks had his work to do, and soon went. And very nearly up to Hall time Williams was engaged in a vain attempt to identify the subject of his picture.
“If the vowel before the ng had only been left, it would have been easy enough,” he thought. “But as it is, the name may be anything from Guestingley to Langley, and there are many more names ending like this than I thought. And this rotten book has no index of terminations.”
Hall in Mr. Williams’s college was at seven. It need not be dwelled upon. The less so as he met there colleagues who had been playing golf during the afternoon, and words with which we have no concern were freely bandied across the table—merely golfing words, I would hasten to explain.
I suppose an hour or more to have been spent in what is called common-room after dinner. Later in the evening some few retired to Williams’s rooms, and I have little doubt that whist was played and tobacco smoked.
During a lull in these operations Williams picked up the mezzotint from the table without looking at it, and handed it to a person mildly interested in art, telling him where it had come from, and the other particulars which we already know.
The gentleman took it carelessly, looked at it, then said, in a tone of some interest:
“It’s really a very good piece of work, Williams. It has quite a feeling of the romantic period. The light is admirably managed, it seems to me, and the figure, though it’s rather too grotesque, is somehow very impressive.”