So my thoughts went over and over the same ground, and every time finding escape from the obvious conclusion more and more impossible. The evidence of Madeline's complicity—at the very least—in the sending of the infernal machine appeared overwhelming. I could not reject it. Nor could I deny what the sending of it implied. It was virtually a confession of guilt. And yet, even as I admitted this to myself, I was strangely enough aware that my feelings towards Madeline remained unaltered. The rational, legal side of me condemned her. But somehow, in some incomprehensible way, that condemnation had a purely technical, academic quality. It left my loyalty and affection for her untouched.
But what of Thorndyke? Had his reasoning travelled along the same lines? If it had, there would be nothing sentimental in his attitude. He had warned me, and I knew well enough that whenever there should be evidence enough to put before a court, the law would be set in motion. What, then, was his present position? And even as I asked myself the question, there echoed uncomfortably in my mind the significant suggestion that he had thrown out only a few hours ago concerning the bottle of medicine. Evidently, he at least entertained the possibility that the Fowler's Solution had been put into that bottle after Monkhouse's death, and that for the express purpose of diverting suspicion from the food. The manifest implication was that he entertained the possibility that the poison had been administered in the food. But to suspect this was to suspect the person who prepared the food of being the poisoner. And the person who prepared the food was Madeline.
The question, therefore, as to Thorndyke's state of mind was a vital one. He had expressed no suspicion of Madeline. But then he had expressed no suspicion of anybody. On the other hand, he had exonerated nobody. He was frankly observant of every member of that household. Then there was the undeniable fact that Madeline had been watched and followed. Somebody suspected her. But who? The watcher was certainly not a detective. Amateur was writ large all over him. Then it was not the police who suspected her. Apparently there remained only Thorndyke, though one would have expected him to employ a more efficient agent.
But Wallingford was also under observation, and more persistently. Then he, too, was suspected. But here there was some show of reason. For what was Wallingford doing in the Temple? Evidently he had been lurking about, apparently keeping a watch on Thorndyke, though for what purpose I could not imagine. Still, it was a suspicious proceeding and justified some watch being kept on him. But the shadowing of Madeline was incomprehensible.
I paced up and down my sitting room turning these questions over in my mind and all the time conscious of a curious sense of unreality in the whole affair; in all this watching and following and dodging which looked so grotesque and purposeless. I felt myself utterly bewildered. But I was also profoundly unhappy and, indeed, overshadowed by a terrible dread. For out of this chaos one fact emerged clearly: there was a formidable body of evidence implicating Madeline. If Thorndyke had known what I knew, her position would have been one of the gravest peril. My conscience told me that it was my duty to tell him; and I knew that I had no intention of doing anything of the kind. But still the alarming question haunted me: how much did he really know? How much did he suspect?
In the course of my perambulations I passed and repassed a smallish deed box which stood on a lower book-shelf and which was to me what the Ark of the Covenant was to the ancient Israelites: the repository of my most sacred possessions. Its lid bore the name "Stella," painted on it by me, and its contents were a miscellany of trifles, worthless intrinsically, but to me precious beyond all price as relics of the dear friend who had been all in all to me during her short life and who, though she had been lying in her grave for four long years, was all in all to me still. Often, in the long, solitary evenings, had I taken the relics out of their abiding-place and let the sight of them carry my thoughts back to the golden days of our happy companionship, filling in the pleasant pictures with the aid of my diary—but that was unnecessary now, since I knew the entries by heart—and painting other, more shadowy, pictures of a future that might have been. It was a melancholy pleasure, perhaps, but yet, as the years rolled on, the bitterness of those memories grew less bitter and still the sweet remained.
Presently, as for the hundredth time the beloved name met my eye, there came upon me a yearning to creep back with her into the sunny past; to forget, if only for a short hour, the hideous anxieties of the present and in memory to walk with her once more "along the meads of asphodel."
Halting before the box, I stood and lifted it tenderly to the table and having unlocked it, raised the lid and looked thoughtfully into the interior. Then, one by one, I lifted out my treasures, set them out in order on the table, and sat down to look at them and let them speak to me their message of peace and consolation.
To a stranger's eye they were a mere collection of odds and ends. Some would have been recognizable as relics of the more conventional type. There were several photographs of the dead girl, some taken by myself, and a tress of red-gold hair—such hair as I had been told often glorifies the victims whom consumption had marked for its own. It had been cut off for me by Barbara when she took her own tress, and tied up with a blue ribbon. But it was not these orthodox relics that spoke to me most intimately. I had no need of their aid to call up the vision of her person. The things that set my memory working were the records of actions and experiences; the sketch-books, the loose sketches and the little plaster plaques and medallions that she had made with my help after she had become bed-ridden and could go no more abroad to sketch. Every one of these had its story to tell, its vision to call up.
I turned over the sketches—simple but careful pencil drawings for the most part, for Stella, like me, had more feeling for form than for colour—and recalled the making of them; the delightful rambles across the sunny meadows or through the cool woodlands, the solemn planting of sketching-stools and earnest consultation on the selection and composition of the subjects. These were the happiest days, before the chilly hand of the destroyer had been laid on its chosen victim and there was still a long and sunny future to be vaguely envisaged.
And then I turned to the little plaques and medallions which she had modelled under my supervision and of which I had made the plaster moulds and casts. These called up sadder memories, but yet they spoke of an even closer and more loving companionship; for each work was, in a way, a joint achievement over which we had triumphed and rejoiced together. So it happened that, although the shadow of sickness, and at last of death, brooded over them, it was on these relics that I tended to linger most lovingly.
Here was the slate that I had got for her to stick the clay on and which she used to hold propped up against her knees as she worked with never-failing enthusiasm through the long, monotonous days, and even, when she was well enough, far into the night by the light of the shaded candle. Here were the simple modelling-tools and the little sponge and the camelhair brush with which she loved to put the final finish on the damp clay reliefs. Here was Lanterri's priceless textbook over which we used to pore together and laud that incomparable teacher. Here were the plaques, medals and medallions that we had prised out, with bated breath, from their too-adherent moulds. And here—the last and saddest relic—was the wax mould from which no cast had ever been made, the final, crowning work of those deft, sensitive fingers.
For the thousandth time, I picked it up and let the light fall obliquely across its hollows. The work was a medal some three inches across, a portrait of Stella, herself, modelled from a profile photograph that I had taken for the purpose. It was an excellent likeness and unquestionably the best piece of modelling that she had ever done.
Often, I had intended to take the cast from it, but always had been restrained by a vague reluctance to disturb the mould. Now, as I looked at the delicate, sunken impression, I had again the feeling that this, her last work, ought to be finished; and I was still debating the matter with the mould in my hand when I heard a quick step upon the stair, followed by a
characteristic knock on my door.
My first impulse was to hustle my treasures back into their box before answering the summons. But this was almost instantly followed by a revulsion. I recognized the knock as Thorndyke's; and somehow there came upon me a desire to share my memories with him. He had shown a strangely sympathetic insight into my feelings towards Stella. He had read my diary. He now knew the whole story; and he was the kindest, the most loyal and most discreet of friends. Gently laying down the mould I went to the door and threw it open.
"I saw your light burning as I passed just now," said Thorndyke as he entered and shook my hand warmly, "so I thought I would take the opportunity to drop in and return your diary. I hope I am not disturbing you. If I am, you must treat me as a friend and eject me."
"Not at all, Thorndyke," I replied. "On the contrary, you would be doing me a charity if you would stay and smoke a companionable pipe."
"Good," said he, "then I will give myself the pleasure of a quiet gossip. But what is amiss, Mayfield?" he continued, laying a friendly hand on my shoulder and looking me over critically. "You look worn, and worried and depressed. You are not letting your mind dwell too much, I hope, on the tragedy that has come unbidden into your life?"
"I am afraid I am," I replied. "The horrible affair haunts me. Suspicion and mystery are in the very air I breathe. A constant menace seems to hang over all my friends, so that I am in continual dread of some new catastrophe. I have just ascertained that Wallingford is really being watched and shadowed; and not only Wallingford but even Miss Norris."
He did not appear surprised or seek for further information. He merely nodded and looked into my face with grave sympathy.
"Put it away, Mayfield," said he. "That is my counsel to you. Try to forget it. You have put the investigation into my hands. Leave it there and wash your own of it. You did not kill Harold Monkhouse. Whoever did must pay the penalty if ever the crime should be brought home to the perpetrator. And if it never can be, it were better that you and all of us should let it sink into oblivion rather than allow it to remain to poison the lives of innocent persons. Let us forget it now. I see you were trying to."
I had noticed that when he first entered the room, he cast a single, swift glance at the table which, I was sure, had comprehended every object on it. Then he had looked away and never again let his eyes stray in that direction. But now, as he finished speaking, he glanced once more at the table, and this time with undisguised interest.
"Yes," I admitted. "I was trying to find in the memories of the past an antidote for the present. These are the relics of that past. I daresay you have read of them in the diary and probably have written me down a mawkish sentimentalist."
"I pray you, my friend, not to do me that injustice!" he exclaimed. "Faithful friendship, that even survives the grave, is not a thing that any man can afford to despise. But for the disaster of untimely death, your faithfulness and hers would have created for two persons the perfect life. I assure you, Mayfield, that I have been deeply moved by the story of your delightful friendship and your irreparable loss. But don't let us dwell too much on the sad aspects of the story. Show me your relics. I see some very charming little plaques among them."
He picked up one with reassuring daintiness of touch and examined it through a reading-glass that I handed to him.
"It really is a most admirable little work," said he. "Not in the least amateurish. She had the makings of a first-class medallist; the appreciation of the essential qualities of a miniature relief. And she had a fine feeling for composition and spacing."
Deeply gratified by his appreciation and a little surprised by his evident knowledge of the medallist's art, I presented the little works, one after another, and we discussed their merits with the keenest interest. Presently he asked: "Has it never occurred to you, Mayfield, that these charming little works ought to be finished?"
"Finished?" I repeated. "But, aren't they finished?"
"Certainly not. They are only on the plaster. But a plaster cast is an intermediate form. Just a mere working model. It is due to the merits of these plaques and medals that they should be put into permanent material—silver or copper or bronze. I'll tell you what, Mayfield," he continued, enthusiastically. "You shall let Polton make replicas of some of them—he could do it with perfect safety to the originals. Then we could hand the casts to an electrotyper or a founder—I should favour the electrotype process for such small works—and have them executed in whichever metal you preferred. Then you would be able to see, for the first time, the real quality of the modelling."
I caught eagerly at the idea, but yet I was a little nervous.
"You think it would be perfectly safe?" I asked.
"Absolutely safe. Polton would make gelatine moulds which couldn't possibly injure the originals."
That decided me. I fell in with the suggestion enthusiastically, and forthwith we began an anxious consultation as to the most suitable pieces with which to make a beginning. We had selected half a dozen casts when my glance fell on the wax mould. That was Stella's masterpiece and it certainly ought to be finished; but I was loath to part with the mould for fear of an accident. Very dubiously, I handed it to Thorndyke and asked: "What do you think of this? Could it be cast without any risk of breaking it?"
He laid the mould on the table before him so that the light fell obliquely across it and looked down on it reflectively.
"So," said he, "this is the wax mould. I was reading about it only yesterday and admiring your resourcefulness and ingenuity. I must read the entry again with the actual object before me."
He opened the diary, which he had laid on the table, and when he had found the entry, read it to himself in an undertone.
"Dropped in to have tea with Stella and found her bubbling with excitement and triumph. She had just finished the portrait medal and though her eyes were red and painful from the strain of the close work, in spite of her new spectacles, she was quite happy and as proud as a little peacock. And well she might be. I should like Lantern to see his unknown pupil's work. We decided to make the mould of it at once, but when I got out the plaster tin, I found it empty. Most unfortunate, for the clay was beginning to dry and I didn't dare to damp it. But something had to be done to protect it. Suddenly I had a brilliant idea. There was nearly a whole candle in Stella's candlestick, quite enough for a mould, and good, hard wax that wouldn't warp. I took off the reflector and lighted the candle, which I took out of the candlestick and held almost upside down over the clay medal and let the wax drip on to it. Soon the medal was covered by a film of wax which grew thicker and thicker, until, by the time I had used up practically the whole of the candle, there was a good, solid crust of wax, quite strong enough to cast from. When I went home, I took the slate with me with the wax mould sticking to it, intending to cover it with a plaster shell for extra safety. But my plaster tin was empty, too, so I put the slate away in a safe place until I should get some fresh plaster to make the cast; which will not happen until I get back from Chelmsford.
"Busy evening getting ready for tomorrow; hope I shall feel less cheap then than I do now."
As Thorndyke finished reading he looked up and remarked: "That was an excellent plan of yours. I have seen Polton use the same method. But how was it that you never made the cast?"
"I was afraid of damaging the mould. As you know, when I came back from Ipswich, Stella was dead, and as the medal was her last work and her best, I hardly dared to risk the chance of destroying it."
"Still," Thorndyke urged, "it was the medal that was her work. The mould was your own; and the medal exists only potentially in the mould. It will come into actual existence only when the cast is made."
I saw the force of this, but I was still a little uneasy, and said so,
"There is no occasion," said he. "The mould is amply strong enough to cast from. It might possibly break in separating the cast, but that would be of no consequence, as you would then have the cast, which would be the medal, itse
lf. And it could then be put into bronze or silver."
"Very well," I said, "if you guarantee the safety of the operation, I am satisfied. I should love to see it in silver; or perhaps it might look even better in gold."
Having disposed of the works, themselves, we fell to discussing the question of suitable settings or frames; and this led us to the subject of the portraits. Thorndyke glanced over the collection, and picking up one, which happened to be my own favourite, looked at it thoughtfully.
"It is a beautiful face," said he, "and this seems to have been a singularly happy portrait. In red chalk autotype, it would make a charming little picture. Did you take it?"
"Yes; and as I have the negative I am inclined to adopt your suggestion. I am surprised that I never thought of it myself, for red chalk is exactly the right medium."
"Then let Polton have the negative. He is quite an expert in autotype work."
I accepted the offer gladly and we then came back to the question of framing. Thorndyke's suggestion was that the portrait should be treated as a medallion and enclosed in a frame to match that of the medal. The idea appealed to me rather strongly, and presently a further one occurred to me, though it was suggested indirectly by Thorndyke, who had taken up the tress of Stella's hair and was looking at it admiringly as he drew it softly between his fingers.
"Human hair," he remarked, "and particularly a woman's hair, is always a beautiful material, no matter what its colour may be; but this red-gold variety is one of the most gorgeous of Nature's productions."
"Yes," I agreed, "it is extremely decorative. Barbara had her tress made up into a thin plait and worked into the frame of a miniature of Stella. I liked the idea, but somehow the effect is not so very pleasing. But it is an oblong frame."
"I don't think," said Thorndyke, "that a plait was quite the best form. A little cable would look better, especially for a medallion portrait; indeed I think that if you had a plain square black frame with a circular opening, a little golden cable, carried round concentrically with the opening would have a rather fine effect."
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