“Turning now to the victim, the evidence showed that he was a man of high moral qualities; honest, industrious, thrifty, kindly and amiable and of good reputation—the exact reverse of the other. Any illicit association between these two men was therefore excluded; and yet there must have been an association of some kind. Of what kind could it have been?
“Now, in the case of this man, as in that of the other, there was one outstanding fact. He was a sculptor. And not only a sculptor but an artist in the highest class of waxwork. And not only this. He was probably the only artist of this kind practising in this country. For waxwork is almost exclusively a French art. So far as I know, all the wax figures and high-class lay figures that are made are produced in France. This man, therefore, appeared to be the unique English practitioner of this very curious art.
“The fact impressed me profoundly. To realize its significance we must realize the unique character of the art. Waxwork is a fine art, but it differs from all other fine arts in that its main purpose is one that is expressly rejected by all those other arts. An ordinary work of sculpture, no matter how realistic, is frankly an object of metal, stone or pottery. Its realism is restricted to truth of form. No deception is aimed at, but, on the contrary, is expressly avoided. But the aim of waxwork is complete deception; and its perfection is measured by the completeness of the deception achieved. How complete that may be can be judged by incidents that have occurred at Madame Tussaud’s. When that exhibition was at the old Baker Street Bazaar, the snuff-taker—whose arms, head and eyes were moved by clock-work—used to be seated on an open bench; and it is recorded that, quite frequently, visitors would sit down by him on the bench and try to open conversation with him. So, too, the waxwork policeman near the door was occasionally accosted with questions by arriving visitors.
“Bearing this fact in mind, it is obvious that this art is peculiarly adapted to employment in certain kinds of fraud, such as personation, false alibi and the like; and it is probable that the only reason why it is not so employed is the great difficulty of obtaining first-class waxworks.
“Naturally, then, when I observed this connexion of a criminal with a waxwork artist, I asked myself whether the motive of the murder was not to be sought in that artist’s unique powers. Could it be that an attempt had been made to employ the deceased on some work designed for a fraudulent purpose? If such an attempt had been made, whether it had or had not been successful, the deceased would be in possession of knowledge which would be highly dangerous to the criminal; but especially if a work had actually been executed and used as an instrument of fraud.
“But there were other possibilities in the case of a sculptor who was also a medallist. He might have been employed to produce—quite innocently—copies of valuable works which were intended for fraudulent use: and the second stage of the investigation was concerned with these possibilities. That stage was ushered in by Follett’s discovery of the guinea, the additional facts that we obtained at the Museum, and later, when we learned that the guinea that had been found was an electrotype copy, and that deceased was an expert electrotyper, all seemed to point to the production of forgeries as the crime in which Julius D’Arblay had been implicated. That was the view to which we seemed to be committed; but it did not seem to me satisfactory, for several reasons. First, the motive was insufficient—there was really nothing to conceal. When the forgeries were offered for sale, it would be obvious that someone had made them and that someone could be traced by the purchaser through the vendor. The killing of the actual maker would give no security to the man who sold the forgeries and who would have to appear in the transaction. And then, although deceased was unique as a waxworker, he was not as a copyist or electrotyper. For those purposes, much more suitable accomplices might have been found. The execution of copies by deceased appeared to be a fact; but my own feeling was that they had been a mere by-product—that they had been used as a means of introduction to deceased for some other purpose connected with waxwork.
“At the end of this stage we had made some progress. We had identified this unknown man with another unknown man, who was undoubtedly a professional criminal. We had found, in the forged guinea, a possible motive for the murder. But, as I have said, that explanation did not satisfy me, and I still kept a lookout for new evidence connected with the waxworks.
“The next stage opened on that night when you arrived at Cornish’s, looking like a resuscitated ‘found drowned.’ Your account of your fall into the canal and the immediately antecedent events made a deep impression on me, though I did not, at the time, connect them with the crime that we were investigating. But the whole affair was so abnormal that it seemed to call for very careful consideration; and the more I considered it, the more abnormal did it appear.
“The theory of an accident could not be entertained, nor could the dropping of that derrick have been a practical joke. Your objection that no one was in sight had no weight, since there was a gate in the wall by which a person could have made his escape. Someone had attempted to murder you; and that attempt had been made immediately after you had signed a cremation certificate. That was a very impressive fact. As you know, it is my habit to look very narrowly at cremation cases, for the reason that cremation offers great facilities for certain kinds of crime. Poisoners—and particularly arsenic and antimony poisoners—have repeatedly been convicted on evidence furnished by an exhumed body. If such poisoners can get the corpse of the victim cremated, they are virtually safe; for whatever suspicions may thereafter arise, no conviction is possible, since the means of proving the administration have been destroyed.
“Accordingly, I considered very carefully your account of the proceedings, and as I did so, strong suggestions of fraud arose in all directions. There was, for instance, the inspection window in the coffin. What was its object? Inspection windows are usually provided only in cases where the condition of the body is such that it has to be enclosed in a hermetically sealed coffin. But no such condition existed in this case. There was no reason why the friends should not have viewed the body in the usual manner in an open coffin. Again, there was the curious alternation of you and the two witnesses. First they went up and viewed deceased—through the window. Then, after a considerable interval, you and Cropper went up and viewed deceased—through the window. Then you took out the body, examined it and put it back. Again, after a considerable interval, the witnesses went up a second time and viewed the deceased—through the window.
“It was all rather queer and suspicious, especially when considered in conjunction with the attempt on your life. Reflecting on the latter, the question of the gate in the wall by the canal arose in my mind, and I examined the map to see if I could locate it. It was not marked, but the wharf was; and from this and your description it appeared certain that the gate must be in the wall of the garden of Morris’s house. Here was another suspicious fact. For Morris—who could have let you out by this side-gate—sent you by a long, roundabout route to the tow-path. He knew which way you must be going—westward—and could have slipped out of the gate and waited for you in the hut by the wharf. It was possible, and there seemed to be no other explanation of what had happened to you. Incidentally, I made another discovery. The map showed that Morris’s house had two frontages—one on Field Street and one on Market Street—and that you appeared to have been admitted by the back entrance. Which was another slightly abnormal circumstance.
“I was very much puzzled by the affair. There was a distinct suggestion that some fraud—some deception—had been practised, that what the spinsters saw through the coffin window was not the same thing as that which you saw. And yet, what could the deception have been? There was no question about the body. It was a real body. The disease was undoubtedly genuine and was, at least, the effective cause of death. And the cremation was necessarily genuine; for though you can bury an empty coffin, you can’t cremate one. The absence of calcined bone would expose the fraud instantly.
“I considered
the possibility of a second body; that of a murdered person, for instance. But that would not do. For if a substitution had been effected, there would still have been a redundant body to dispose of and account for. Nothing would have been gained by the substitution.
“But there was another possibility to which no such objection applied. Assuming a fraud to have been perpetrated, here was a case adapted in the most perfect manner to the use of a waxwork. Of course, a full-length figure would have been impossible because it would have left no calcined bones. But the inspection window would have made it unnecessary. A wax head would have done; or better still, a wax mask, which could have been simply placed over the face of the real corpse. The more I thought about it the more was I impressed by the singular suitability of the arrangements to the use of a wax mask. The inspection window seemed to be designed for the very purpose—to restrict the view to a mere face and to prevent the mask from being touched and the fraud thus discovered—and the alternate inspections by you and the spinsters were quite in keeping with a deception of that kind.
“There was another very queer feature in the case. These people, living at Hoxton, elected to employ a doctor who lived miles away at Bloomsbury. Why did they not call in a neighbouring practitioner? Also, they arranged the days and even the hours at which the visits were to be made. Why? There was an evident suggestion of something that the doctor was not to know—something or somebody that he was not desired to see, that some preparations had to be made for his visits.
“Again, the note was addressed to Dr. Stephen Gray, not to Dr. Cornish. They knew your name and address, although you had only just come there, and they did not know Dr. Cornish, who was an old resident. How was this? The only explanation seemed to be that they had read the report of the inquest, or even been present at it. You there stated publicly that your temporary address was at 61 Mecklenburgh Square; that you were, in fact, a bird of passage; and you gave your full name and your age. Now, if any fraud was being carried out, a bird of passage, who might be difficult to find later, and a young one at that, was just the most suitable kind of doctor.
“To sum up the evidence at this stage: The circumstances, taken as a whole, suggested in the strongest possible manner that there was something fraudulent about this Cremation. That fraud must be some kind of substitution or personation with the purpose of obtaining a certificate that some person had been cremated, who in fact had not been cremated. In that case it was nearly certain that the dead man was not Simon Bendelow, for the certificates would be required to agree with false appearances, not true. There was a suggestion—but only a speculative one—that the deception might have been effected by means of a wax mask.
“There were, however two objections. As to the wax mask, there was the great difficulty of obtaining one. A perfect portrait mask could have been obtained only either from an artist in Paris or from Julius D’Arblay. The objection to the substitution theory was that there was a real body—the body of a real person. If the cremation was in a name which was not the name of that person, then the disappearance of that person would remain unaccounted for.
“So you see that the whole theory of the fraud was purely conjectural. There was not a single particle of direct evidence. You also see that at two points there was a faint hint of a connexion between this case and the murder of Mr. D’Arblay. These people seemed to have read of, or attended at, the inquest, and if a wax mask existed, it was quite probably made by him.
“The next stage opens with the discovery of the mask at the studio. But there are certain antecedent matters that must first be glanced at. When the attempt was made to murder Marion, I asked myself the questions:
“1. Why did this man want to kill Marion?
“2. What did he come to the studio on the preceding night to search for?
“3. Did he find it, whatever it was?
“4. Why had he delayed so long to make the search?
“Let us begin with the second question. What had he come to look for? The obvious suggestion was that he had come to get possession of some incriminating object. But what was that object? Could it be the mould of some forged coin or medal? I did not believe that it was. For since the forgery or forgeries were extant, the moulds had no particular significance; and what little significance they had, applied to Mr. D’Arblay, who was, technically, the forger. My feeling was that the object was in some way connected with waxwork, and in all probability with a wax portrait mask, as the most likely thing to be used for a fraudulent purpose. And I need hardly say that the cremation case lurked in the back of my mind.
“This view was supported by consideration of the third question. Did he find what he came to seek? If he came for moulds of coins or medals, he must have found them, for none remained. But the fact that he came the next night and attempted to murder Marion—believing her to be alone—suggested that his search had failed. And consideration of the fourth question led—less decisively—to the same conclusion as to the nature of the object sought.
“Why had he waited all this time to make the search? Why had he not entered the studio immediately after the murder, when the place was mostly unoccupied? The most probable explanation appeared to me to be that he had only recently become aware that there was any incriminating object in existence. Proceeding on the hypothesis that he had commissioned Mr. D’Arblay to make a wax portrait mask, I further assumed that he knew little of the process, and—perhaps misunderstanding Mr. D’Arblay—confused the technique of wax with that of plaster. In making a plaster mask from life—as you probably know by this time—you have to destroy the mould to get the mask out. So when the mask has been delivered to the client, there is nothing left.
“But to make a wax mask, you must first make one of plaster to serve as a matrix from which to make the gelatine mould for the wax. Then, when the wax mask has been delivered to the client, the plaster matrix remains in the possession of the artist.
“The suggestion, then, was that this man had supposed that the mould had been destroyed in making the mask, and that only some time after the murder had he, in some way, discovered his mistake. When he did discover it, he would see what an appalling blunder he had made; for the plaster matrix was the likeness of his own face.
“You see that all this was highly speculative. It was all hypothetical and it might all have been totally fallacious. We still had not a single solid fact; but all the hypothetical matter was consistent, and each inference seemed to support the others.”
“And what,” I asked, “did you suppose was his motive for trying to make away with Marion?”
“In the first place,” he replied, “I inferred that he looked on her as a dangerous person who might have some knowledge of his transactions with her father. This was probably the explanation of his attempt when he cut the brake-wire of her bicycle But the second, more desperate attack, was made, I assume, when he had realized the existence of the plaster mask, and supposed that she knew of it, too. If he had killed her, he would probably have made another search with the studio fully lighted up.
“To return to our inquiry. You see that I had a mass of hypothesis but not a single real fact. But I still had a firm belief that a wax mask had been made and that—if it had not been destroyed—there must be a plaster mask somewhere in the studio. That was what I came to look for that morning; and as it happens that I am some six inches taller than Bendelow was, I was able to see what had been invisible to him. When I discovered that mask, and when Marion had disclaimed all knowledge of it, my hopes began to rise. But when you identified the face as that of Morris, I felt that our problem was solved. In an instant my card-house of speculative hypothesis was changed into a solid edifice. What had been but bare possibilities had now become so highly probable that they were almost certainties.
“Let us consider what the finding of this mask proved—subject, of course, to verification. It proved that a wax mask of Morris had been made—for here was the matrix, varnished, as you will remember, in readiness f
or the gelatine mould; and that mask was obviously obtained for the purpose of a fraudulent cremation. And that mask was made by Julius D’Arblay.
“What was the purpose of the fraud? It was perfectly obvious. Morris was clearly the real Simon Bendelow, and the purpose of the fraud was to create undeniable evidence that he was dead. But why did he want to prove that he was dead? Well, we knew that he was the murderer of Van Zellen, for whom the American police were searching, and he might be in more danger than we knew. At any rate, a death-certificate would make him absolutely secure—on one condition: that the body was cremated. Mere burial would not be enough; for an exhumation would discover the fraud. But perfect security could be secured only by destruction of all evidence of the fraud. Julius D’Arblay held such evidence. Therefore Julius D’Arblay must be got rid of. Here, then, was an amply sufficient motive for the murder. The only point which remained obscure was the identity of your patient and the means by which his disappearance had been accounted for.
“My hypothesis, then, had been changed into highly probable theory. The next stage was the necessary verification. I began with a rather curious experiment. The man who tried to murder Marion could have been no other than her father’s murderer. Then he must have been Morris. But it seemed that he was totally unlike Morris, and the mask evidently suggested to her no resemblance. But yet it was probable that the man was Morris, for the striking features—the hook nose and the heavy brows—would be easily ‘made up,’ especially at night. The question was whether the face was Morris’s with these additions. I determined to put that question to the test. And here Polton’s new accomplishment came to our aid.
“First, with a pinch of clay, we built up on Morris’s mask a nose of the shape described and slightly thickened the brows. Then Polton made a gelatine mould and from this produced a wax mask. He fitted it with glass eyes and attached it to a rough plaster head, with ears which were casts of my own painted. We then fixed on a moustache, beard and wig, and put on a shirt, collar and jacket. It was an extraordinarily crude affair, suggestive of the fifth of November. But it answered the purpose, which was to produce a photograph; for we made the photograph so bad—so confused and ill-focused—that the crudities disappeared, while the essential likeness remained. As you know, that photograph was instantly recognized, without any sort of suggestion. So the first test gave a positive result. Marion’s assailant was pretty certainly Morris.”
The Second R. Austin Freeman Megapack Page 144