"With this object in view, then, I enlisted the services of Ryder, though from none other than myself would he have accepted the task. This brings me to the day prior to Heidelberger's death, and, on that morning, I received news from Africa which led me to hope that I might, after all, be able to save my old home from an ignominious fate. Herein my hopes have since been realized, for I learnt to-day that the mine has made rich men of us all; and I assume that
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some ill-advised remark upon the part of Ryder, regarding Heidelberger's possible expulsion, gave rise to the idea that the old man contemplated a violent deed.
"It therefore came about that he made an appointment with Heidelberger, an appointment which he duly kept; and it was solely due to my anxiety on Ryder's behalf, and lest he should meet with some ill-treatment from the Jew—whom I knew for a man of most brutal disposition—that I took certain steps which, indirectly, brought about the tragedy.
"In common with most old mansions of the period, the Hall has its hidden entrances and exits—though, in accordance with certain ancient traditions, the secret of their existence is strictly preserved among the family. With a view, therefore, to becoming an unseen witness of the transactions between Ryder and Heidelberger, I made use of a passage that opens into a shrubbery some fifty yards from the west wing. Entering, and mounting the steps at whose foot the tunnel terminates, I found myself at the back of an old painting in the banqueting hall. The frame of this picture forms a door which opens upon pressing a spring, but the apparatus, owing to its great age, works very stiffly. From this position, then, I could hear all that took place in the hall, where, I had anticipated, the negotiations would be conducted, as my mother's picture hangs there.
"This proved to be the case; for I had but just
gained the top of the steps when I heard the two enter the hall. Heidelberger spoke first.
" 'Think of you wanting to buy Lady Crespie's picture, you sentimental old fool!' he said. 'If it had been another I could name who wanted it, the case would have been different !'
"Then I heard Ryder's voice. 'What do you mean, Mr. Heidelberger ?' he asked.
"I awaited the Jew's reply with some curiosity. As I had anticipated, it consisted of a foul and unfounded imputation against my poor mother. It was, in fact, more than I could bear in silence, and the tolerance of old Ryder, too, had reached its limit. For, at the moment that I wrenched open the panel and sprang into the room to confront this slanderer, I heard the sound of a blow, followed by an animallike roar of anger from Heidelberger.
'The next moment, he seized the old man by the throat. Before he had time to proceed further I struck him heavily with my fist, so that he released his grip and turned to face his new assailant.
"One tribute I must pay to Heidelberger. He was, seemingly, incapable of fear; for this sudden attack by a person he had not known to be present seemed only to arouse a new resentment. His face, as he turned and looked me up and down, contained no trace of fear.
"'So it's you that wants the picture, is it?' he sneered. 'I suppose you are '
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"'Stop!' I said. 'I am Roland Crespie, and can listen to no more of your foul slanders!'
"For a second he hesitated, looking from me to Ryder and then toward the picture, dimly discernible in the light of the candle which he had brought with him. Then, before I could divine his intention, he drew a knife from his pocket, and, opening a blade, took a step in the direction of the portrait. 'You shall never have it!' he said.
"He had actually inserted the blade in the canvas —as an examination will show—when I came upon him, and we closed in a desperate struggle.
"In what followed, one can almost trace the finger of destiny. Heidelberger was a more powerful man than myself, but in his fury he endeavoured to stab me with the knife which he held in his hand!
"I seized his wrist, but he wrenched it from my grasp. I leapt back from him—as he struck down with the knife—and to the left of one of the posts supporting the minstrels' gallery.
"In the blidness of his anger, Heidelberger failed to perceive the proximity of this post. Moreover, it was very dark under the gallery. He threw himself forward savagely—and struck his shoulder against the post. The impact was tremendous.
"Gentlemen! I tremble, now, to relate what happened! The ax of 'Black Geoffrey,' which had hung for centuries before the rail above, was shaken
from its place by the shock and its time-worn fastenings were torn bodily from their hold. At the instant that Heidelberger's huge body struck the post, the great ax, as though detached by invisible hands, fell, blade downward, cleaving the head of the unfortunate man and remaining, with quivering shaft, upright in the oaken floor!
"The suddenness of the tragedy almost dazed me, and I was awakened to its awful reality by old Ryder's cry—' Oh, Master Roly!' As Master Roly I had always been known to the old butler, and this name it was which someone stated to be 'holy.'
"Our subsequent action was, perhaps, ill-advised. Removing the ax and raising the head of the victim, examination showed him to be dead, and, hearing hesitating footsteps upon the narrow stair beneath the gallery, we seized the candle and retreated through the secret panel, Ryder severely cutting his hand in endeavouring to force the rusty bolt into place. It was not until we stood in a lane bordering the grounds, where I had tethered the mare upon which I had ridden from the farm, that the seemingly guilty nature of our action dawned upon me. Now, however, was too late to atone for what I attribute to a momentary panic; and requesting Ryder to keep silence until he received instructions from me, I mounted the mare, intending to return to my lodgings and think the matter quietly over.
"By an unlucky accident, the brute threw me, at
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some distance from the farm, thereby all but bringing about a second tragedy; and what followed is already known to you.
"Of Ryder I need only say that rather than incriminate me he was prepared to pay the penalty for a deed which was in truth a visitation of God. Doctor Madden recognized me, of course, and to him also I am eternally indebted. I had proposed to make this statement before a magistrate later to-day."
"You see," said Moris Klaw. "I have done nothing! It would all have happened the same if I had been in Peru!"
Grimsby cleared his throat.
"Without casting any doubt upon Sir Roland's word," he began, "there's no evidence to go to a jury that he didn't "
"Pull down the ax himself?" suggested Klaw.
Grimsby looked uncomfortable.
"Well— is there?"
"There is!" rumbled Moris Klaw. "I am he! This case most triumphantly substantiates my theory of Cycles! Almost parallel it occurred hundreds of years ago, at Dyke Manor! The ax has repeated itself!"
"Hum!" said Grimsby. "Your theory of Cycles wouldn't hold water with twelve good men and true, I'm afraid, Mr. Klaw!"
"Yes?" replied Moris Klaw. "No? You think not, eh? Well, then, there is another little point.
I am an old crank-fool, eh? So? But you? You are sublimely mad, my Grimsby! You say he, or Mr. Ryder, may have snatched down the black ax? Yes ? Have you tried to reach the spot where it hung before the rail?"
"No," confessed Grimsby, with the light as of the dawning of an unpleasant idea in his eyes.
"No," said Klaw, placidly; "but / have. Mr. Grimsby, it is impossible to reach within three feet of the spot, from the stair or from the gallery; and no live thing but a giraffe could reach it from the floor!"
We were seated in the train, homeward bound.
"For this case," grumbled Klaw, "I get no credit. It will be said that it all came out without aid from you or from me. Never mind—I have my fee!"
He patted the haft of the great ax, which ghastly relic in some way he had arranged to appropriate. Grimsby was watching Isis Klaw out of the corner of his eye. From a dainty gold case she offered him a cigarette. Grimsby is no cig
arette smoker but he accepted, with alacrity.
The beautiful Isis took one also, and lay back puffing sinuous spirals from between her perfect red lips.
FOURTH EPISODE
CASE OF THE IVORY STATUE
I
WHERE a case did not touch his peculiar interests, appeals to Moris Klaw fell upon deaf ears. However dastardly a crime, if its details were of the sordid sort, he shrank within his Wapping curio shop as closely as any tortoise within its shell.
"Of what use." he said to me on one occasion, "are my acute psychic sensibilities to detect who it is with a chopper that has brained some unhappy washerwoman? Shall I bring to bear those delicate perceptions which it has taken me so many years to acquire in order that some ugly old fool shall learn what has become of his pretty young wife? I think not—no!"
Sometimes, however, when Inspector Grimsby of Scotland Yard was at a loss, he would induce me to intercede with the eccentric old dealer, and sometimes Moris Klaw would throw out a hint.
Beyond doubt the cases that really interested him were those that afforded scope for the exploiting
of his pet theories: the Cycle of Crime, the criminal history of all valuable relics, the indestructibility of thought. Such a case came under my personal notice on one occasion, and my friend Coram was instrumental in enlisting the services of Moris Klaw. It was, I think, one of the most mysterious affairs with which I ever came in contact, and the better to understand it you must permit me to explain how Roger Paxton, the sculptor, came to have such a valuable thing in his studio as that which we all assumed had inspired the strange business.
It was Sir Melville Fennel, then, who commissioned Paxton to execute a chryselephantine statue. Sir Melville's museum of works of art, ancient and modern, is admittedly the second finest private collection of the kind in the world. The late Mr. Pierpont Morgan's alone took precedence.
The commission came as something of a surprise. The art of chryselephantine sculpture, save for one attempt at revival, in Belgium, has been dead for untold generations. By many modern critics, indeed, it is condemned, as being not art but a parody of art.
Given carte blanche in the matter of cost, Paxton produced a piece of work which induced the critics to talk about a modern Phidias. Based upon designs furnished by the eccentric but wealthy baronet, the statue represented a slim and graceful girl reclining as in exhaustion upon an ebony throne. The ivory face, with its wearily closed eyes, was a veritable
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triumph, and was surmounted by a headdress of gold intertwined among a mass of dishevelled hair. One ivory arm hung down so that the fingers almost touched the pedestal; the left hand was pressed to the breast as though against a throbbing heart. Gold bracelets and anklets, furnished by Sir Melville, were introduced into the composition; and, despite the artist's protest, a heavy girdle, encrusted with gems and found in the tomb of some favourite of a long-dead Pharaoh, encircled the waist. When complete, the thing was, from a merely intrinsic point of view, worth several thousand pounds.
As the baronet had agreed to the exhibition of the statue prior to its removal to Fennel Hall, Paxton's star was seemingly in the ascendant, when the singular event occurred that threatened to bring about his ruin.
The sculptor gave one of the pleasant little dinners for which he had gained a reputation. His task was practically completed, and his friends had all been enjoined to come early, so that the statue could be viewed before the light failed. We were quite a bachelor party, and I shall always remember the circle of admiring faces surrounding the figure of the reclining dancer—warmed in the soft light to an almost uncanny semblance of fair flesh and blood.
"You see," explained Paxton, "this composite work, although it has latterly fallen into disrepute, affords magnificent scope for decorative purposes;
such a richness of colour can be obtained. The ornaments are genuine antiques and of great value—a fad of my patron's."
For some minutes we stood silently admiring the beautiful workmanship; then Harman inquired, "Of what is the hair composed?"
Paxton smiled. "A little secret I borrowed from the Greeks!" he replied, with condonable vanity. "Polyclitus and his contemporaries excelled at the work."
"That jewelled girdle looks detachable," I said.
"It is firmly fastened to the waist of the figure," answered the sculptor. "I defy any one to detach it inside an hour."
"From a modern point of view the thing is an innovation," remarked one of the others, thoughtfully.
Coram, curator of the Menzies Museum, who up to the present had stood in silent contemplation of the figure, now spoke for the first time. "The cost of materials is too great for this style of work ever to become popular," he averred. "That girdle, by the way, represents a small fortune, and together with the anklets, armlets, and headdress, might well tempt any burglar. What precautions do you take, Paxton?"
"Sleep out here every night," was the reply; "and there is always someone here in the daytime. Incidentally, a curious thing occurred last week. I had
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just fixed the girdle, which, I may explain, was once the property of Nicris, a favourite of Ramses III, and my model was alone here for a few minutes. As I was returning from the house I heard her cry out, and when I came to look for her she was crouching in a corner trembling. What do you suppose had frightened her?"
"Give it up," said Harman.
"She swore that Nicris—for the statue is supposed to represent her—had moved!"
"Imagination," replied Coram, "but easily to be understood. I could believe it, myself, if I were here alone long enough."
"I fancy," continued Paxton, "that she must have heard some of the tales that have been circulated concerning the girdle. The thing has a rather peculiar history. It was discovered in the tomb of the dancer by whom it had once been worn; and it is said that an inscription was unearthed at the same time containing an account of Nicris's death under particularly horrible circumstances. Seton—you fellows know Seton—who was present at the opening of the sarcophagus, tells me that the Arabs, on catching sight of the girdle, all prostrated themselves and then took to their heels. Sir Melville Fennel's agent sent it on to England, however, and Sir Melville conceived the idea of this statue."
"Luckily for you," added Coram.
"Quite so," laughed the sculptor, and, carefully
locking the studio door, he led the way up the short path to the house.
We were a very merry party, and the night was far advanced ere the gathering broke up. Coram and I were the last to depart; and having listened to the voices of Harman and the others dying away as they neared the end of the street, we also prepared to take our leave.
"Just come with me as far as the studio," said Paxton, "and having seen that all's well I'll let you out by the garden door."
Accordingly, we donned our coats and hats, and followed our host to the end of the garden, where his studio was situated. The door unlocked, we all three stepped inside the place and gazed upon the figure of Nicris—the pallid face and arms seeming almost unearthly in the cold moonlight, wherein each jewel of the girdle and headdress glittered strangely.
"Of course," muttered Coram, "the thing's altogether irregular—a fact which the critics will not fail to impress upon you; but it is unquestionably very fine, Paxton. How uncannily human it is! I don't entirely envy you your bedchamber, old man!"
"Oh, I sleep well enough," laughed Paxton. "No luxury, though; just this corner curtained off and a camp bedstead."
"A truly Spartan couch!" I said. "Well, goodnight, Paxton. We shall probably see you to-morrow —T. mean later to-day!"
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With that we parted, leaving the sculptor to his lonely vigil at the shrine of Nicris, and as my rooms were no great distance away, some half-hour later I was in bed and asleep.
I little suspected that I had actually witnessed the commencement of one of the
most amazing mysteries which ever cried out for the presence of Moris Klaw.
II
Some few minutes subsequent to retiring—or so it seemed to me; a longer time actually had elapsed —I was aroused by the ringing of my telephone bell. I scrambled sleepily out of bed and ran to the instrument.
Coram was the caller. And now, fully awake, I listened with an ever-growing wonder to his account of that which had prompted him to ring me up. Briefly, it amounted to this: some mysterious incident, particulars of which he omitted, had aroused Paxton from his sleep. Seeking the cause of the disturbance, the artist had unlocked the studio door and gone out into the garden. He was absent but a moment and never out of earshot of the door; yet, upon his return, the statue of Nicris had vanished!
"I have not hesitated to 'phone through to Wap-ping," concluded Coram, "and get a special messenger sent to Moris Klaw. You see, the matter is urgent. If the statue cannot be recovered, its loss may spell ruin for Paxton. He had heard me speak
of Moris Klaw and of the wonders he worked in the Greek Room mysteries, and, accordingly, called me up. I knew, if Klaw came, you would be anxious to be present."
"Certainly," I replied, "I wouldn't miss one of his inquiries for anything. Shall I meet you at Pax-ton's?"
"Yes."
I lost little time in dressing. From Coram's brief account, the mystery appeared to be truly a dark one. Would Moris Klaw respond to this midnight appeal? There was little chance of a big fee, for Paxton was not a rich man; but in justice to the remarkable person whom it is my privilege to present to you in these papers, I must add that monetary considerations seemingly found no place in Klaw's philosophy. He acted, I believe, from sheer love of the work; and this affair, with its bizarre details— the ancient girdle of the dancing girl—the fear of the model, who had declared that the statue moved —was such, I thought, as must appeal to him.
The dream detective: being some account of the methods of Moris Klaw Page 7