The company departed for the village church; and the Baronet, my uncle, and myself, aided by the servants, whose zeal1 had been stimulated2 by the promise of a liberal reward to whomsoever should discover the picture, proceeded to search the length and breadth and depth of the Abbey. Every room, including the bedrooms of the guests, was subjected to a careful inspection3; places the most unlikely to be selected as the hiding-place of the famous chef-d'?uvre were examined by keen eyes, but all in vain. We might as well have looked for the Holy Grail, said by poets to have vanished somewhere in this very neighborhood.
Late in the afternoon of the day—it was Christmas Eve—we stood on the terrace overlooking the undulating extent of woodland that formed the grounds of the Abbey. The sun was now low down on the horizon. Its dying splendour tinged4 with red hues5 the ivy6-mantled Nuns7' Tower, that rose in solitary8 grandeur9 on one side of the Abbey. The Baronet's eye was resting on this tower, and his thoughts reverted10 to the tenant11 of it.
"Angelo can explain the disappearance12 of the missing picture," he said suddenly.
"You think so?" returned my uncle.
[Pg 208]
"He carried it off well in the morning, then," responded my uncle jocularly. "Who would have thought from his surprise and agitation14 that he himself had removed it!"
"From certain things you have told me, I believe he is determined17 that neither you nor Frank shall see his great masterpiece."
The Baronet's opinion was one that I had long held.
"Why not, in Heaven's name?" cried my amazed uncle.
"Ah, that is a reason best known to himself. I fancy—it seems absurd to say it—that the picture, when seen by you, will reveal something that is entirely18 passed over by others: something detrimental19 to himself, I mean—what, I cannot undertake to say."
"What can he have done with it?"
"It is inside that tower," replied the Baronet confidently.
"Why there? Why in existence at all? If he is so anxious, as you say, to prevent us from seeing it, the safe plan would be to destroy it altogether."
"That would be the course of a wise man—yes; but Angelo is a fond parent, you see; his picture is his favourite child, and he cannot bring himself to destroy it. Perhaps he intends after your departure to return it to me uninjured, concocting20 some cock-and-bull story as to where he found it. I trust to goodness he will do something of the kind," continued the Baronet. "So valuable a thing is no trifle to lose.[Pg 209] If I could obtain proof that he has taken it, I would certainly bring him to book before the law."
"Can't we search the tower?" I said; "Angelo is absent."
"Exactly; but he takes care to lock the door every time he leaves it."
"Have you no other keys that will fit the lock?"
"Well, let us go to the tower," I said. "He may for once have left the door unlocked—who knows?"
"Not very likely, but we may try."
The tower, octagonal in shape, was situated23 at a little distance from the main body of the Abbey, to which it was joined by a covered walk consisting of a wall on one side and a row of pillars on the other. It contained but one story, lighted by a large Gothic casement24 twelve feet at least from the ground. Access was gained to the tower by a flight of steps surmounted25 by an oaken door studded with iron nails.
"The Nuns' Tower," I murmured, as we walked down the cloister26; "how came the place to receive that name?"
"Tradition says that when this place was a convent, nuns who broke their vow27 of virginity were tried in this tower by their ecclesiastical superiors—or, if you will, inferiors—and were led hence by a subterranean28 passage to their doom29."
"Which was——?"
"Precipitation down a deep chasm30. The book I spoke31 of last night—a book I firmly believe to have been stolen, and not mislaid—will tell you more about those dark days than I can."
On reaching the foot of the steps leading to the[Pg 210] tower, we mounted them, and, having tried the door, found it locked.
"It would have been strange, indeed," smiled the Baronet, "if Angelo had left his studio accessible."
"What do you see?" asked my uncle.
"It's impossible to see anything," I returned. Something dark within—it may have been a folding screen, the back of a chair, any piece of furniture, in fact—standing immediately behind the keyhole, prevented me from obtaining a glimpse of the interior.
"A cold cell to paint in during the depth of winter," remarked my uncle. "Does he work without a fire?"
"Scarcely," responded the Baronet. "A servant makes up the fire every morning, and brings in coal enough to last the day; but Angelo takes good care to stand by all the time, with a curtain drawn33 over his easel, and his artistic34 paraphernalia35 covered by a cloth, and does not begin work till he is alone."
The concealment36 displayed by Angelo over his new work of art made me only the more curious to obtain a glimpse of the studio; so I clambered up the ivy towards the Gothic casement, and peeped through its diamond panes37, to find that a curtain of violet silk had been drawn across.
"Upon my word," I called out, "Angelo takes precious good care that no one shall discover his art-secret—if secret he has. There is a piece of violet silk stretched across the casement!"
"You can't open the window and get in, I suppose?" said Sir Hugh.
Mounting still higher, I stepped upon the windowsill, and, holding on to a mullion by my left hand, shook the casement with my right; but the fastenings[Pg 211] were too secure to permit my forcing an entrance, so I scrambled38 down again.
"He hasn't put up that curtain exactly as a screen of concealment," remarked the Baronet, stepping backwards39 to take a view of it. "In this new picture of his the amphitheatre, so he tells me, is represented as being partly screened from the glare of the sun by a purple velarium. The curtain that you see up there faces the south. Angelo has no doubt been trying an experiment: studying the effect of violet-coloured rays upon the sanded floor; for he has had it sanded," the Baronet explained, "to make it resemble the pavement of an arena40."
If Sir Hugh really believed that this was the reason why Angelo had covered up the window, he had greater simplicity41 than I gave him credit for.
As we were turning to go away, my unsatisfied curiosity induced me to take a second peep through the keyhole. An ejaculation of surprise escaped my lips, and I rose to my feet in perplexity.
"When I looked through the keyhole just now, there was something dark within that prevented me from seeing anything. That dark something—whatever it was—has vanished. I can now see nothing but a white surface."
The Baronet and my uncle, stooping down to the keyhole, satisfied themselves of the truth of the last part of my statement, and then both looked at me with a half-doubting expression.
"There is something white in front of the door now," said Sir Hugh. "Are you certain it was dark before?"
"Quite certain. There's some one inside."
"Can Angelo have come back?" the Baronet whispered. "You remember he said at breakfast that he[Pg 212] might finish his picture within a few hours. Is he at work now?"
This idea made us look rather mean. It is not nice to be caught playing the spy upon a man in his supposed absence. Only the oaken door separated us from the cell within, so that the artist, if he were there, must have overheard our suspicions of him. We all three listened with our ears pressed close to the door, but could not detect the faintest sound within.
"Angelo, are you here?" cried the Baronet, rapping on the door; "we have come to see how the picture is going on."
"You must have made a mistake, Frank," said my uncle, as we relinquished44 our efforts, and turned to go away.
"I think not," I replied, having my doubts on the matter nevertheless.
"Angelo can't be painting now," remarked Sir Hugh. "This dim twilight45 would not permit it. And if he has been at it earlier in the day, his fire would surely have been lit; but," glancing back and pointing to a little chimney-turret on the battlemented roof of the tower, "we have seen no smoke."
"Yes," returned I; "but if Angelo wishes to keep his presence there a secret—and secrecy46 seems to be a sine qua non in all his undertakings—he won't have a fire."
"Well, then he'll be confoundedly clever if his chilled fingers can handle the brush with any delicacy47 of touch in this cold atmosphere," said the Baronet with a shiver, for the air was extremely damp and cold.
"Sir Hugh," said my uncle, "if you are certain[Pg 213] that the picture is concealed48 in this tower, why not force an entrance?"
"Well," replied the Baronet doubtfully, "there is just the possibility that it may not be there, which would be rather awkward; for Angelo on his return would see the broken lock, and learn that we have been playing the spy on him, which is exactly what we have been doing," added he with a cynical49 smile, "but there's no need for him to know it."
Evidently the Baronet regarded espionage50 very much as the ancient Spartans51 regarded theft. There was no dishonor in the act—the dishonor consisted in being found out.
"I shall tell Angelo," Sir Hugh continued, "when he returns, that as we have thoroughly53 examined the Abbey, including the apartments allotted54 to my guests, without coming upon the picture, we must, in common fairness, subject even his sacred studio to the same investigation55."
"And supposing he refuses to submit to this?" said my uncle.
"Then I shall assert my authority as master of Silverdale, and order an examination of the tower. Ugh! how cold it is!" he added. "Let us get back to the library fire. I feel frozen."
Twilight was coming on apace, and a dim silvery mist was gradually veiling the landscape from our view as we turned to enter the Abbey.
My visit to the Nuns' Tower made me anxious to learn whether the artist had returned. I questioned some of the servants on this point, but none of them had seen Angelo since the morning, so I was forced to the conclusion that I had been mistaken in supposing any one to have been in the tower.
On repairing to the library I found my uncle and the[Pg 214] Baronet discussing the technicalities of some Parliamentary Bill of the past session, a topic that was speedily cut short by the entrance of Fruin, the butler, who carried under his arm an artist's portfolio56 filled with papers and sketches57.
"What have you there, Fruin?" said the Baronet.
"A portfolio, Sir Hugh. I found it hidden under some leaves in one of the vases on the West Terrace."
"A queer hiding-place for it," remarked the Baronet, taking the portfolio and examining it. "How came it there, I wonder. Vasari's, of course. He was showing the ladies some sketches this morning before breakfast, and suddenly closed the portfolio and would not allow them to see any more. He said they must be tired of them, but Florrie declared he had shut it up because there was something he did not want her to see, and she seized the portfolio and ran off with it. I suppose she must have hidden it where you found it, Fruin. Thank you for bringing it here."
The butler withdrew, and the Baronet pushed the portfolio over to me.
"Here you are, Frank," he said, "if you are interested in Vasari's sketches."
"Not at all," I replied carelessly, and then a thought struck me. "Stop, though! You say Vasari would not let all of them be seen. More secrecy. What's the game this time? Let me try to find out."
I drew a chair to the table and began to examine the contents of the portfolio. They consisted of sketches—ink, pencil, and crayon—in every stage of execution, some being unfinished outlines, and others finished to perfection. They embraced a vast variety of subjects—single objects, landscapes, sketches for historical pieces, and copies of statuary from the antique. Like a detective seeking for evidence[Pg 215] I examined each sketch58 suspiciously, holding it near the light and turning it over to see whether there was any mark or writing on the back. I came at last to twelve sketches of different heads, and unfastening the tape that kept them together, I laid them out on the table and drew my uncle's attention to them.
"You see these twelve heads? They have been in this portfolio a year, for Vasari showed them to me last Christmas and asked me whether I recognised any of them. As a fact I did not, but I fancied at the time he had an interested motive for the question, and now I am pretty certain he had."
My uncle looked at them carefully.
"No," I replied.
"Try again."
There was one face that seemed familiar. It was that of a man about thirty years of age, but the head was quite bald, and the face destitute61 of beard and moustache.
"I may have seen this fellow," I said. "I seem to have a faint recollection of him."
My uncle laughed.
"Your recollections of your brother are growing very faint indeed if you do not recognize that face. Can't you see that it is George?"
"George?" I cried.
"Yes. That is George's face, minus hair, beard, and moustache."
Now that the likeness to George had been pointed62 out I could see it clearly enough, but the absence of all hair had imparted so different a look to the face that I doubt whether I myself would ever have discovered it.
"And why the deuce should he sketch George like[Pg 216] that?" I asked, thoroughly perplexed63. "I remember how relieved he seemed when I did not recognise it."
"Can't say," replied my uncle. "It's another of those little mystifications which he delights to put upon his friends. By the way, wasn't C?sar bald, and beardless?"
"'Like laurels64 on the bald first C?sar's head,'" I murmured. "Yes, at the time of his death he was. But I don't quite see the relevancy of your remark."
"Merely a passing thought," he said lightly. "It's not much of a portrait of George; it's like him, and yet not like him. And there is a most uncanny expression about the eyes."
He threw aside the sketch, which the Baronet took up. As soon as his eyes fell upon it a half-repressed exclamation66 escaped his lips, and setting his gold-rimmed glasses upon his nose he took a long and careful look at the drawing.
"Yes," I replied. "That is my brother."
"He is a handsome man," said Sir Hugh, studying the sketch as if it were some puzzle offered to him for solution.
"Do you know him?" I asked.
"I have never seen Captain Willard in my life," he replied, laying aside the drawing.
It would have been wrong to doubt his word, but if any one else had spoken in the same curious, halting way I should have hesitated to believe him. I was on the point of asking him the reason of his evident surprise, when my attention was caught by a series of remarkable68 drawings that my uncle had just taken out of the portfolio. There were completed sketches of[Pg 217] gravestones and monumental pieces, which I supposed had been drawn by Vasari at the request of some cemetery69 mason in want of new designs, or else were the result of some competition at an art school. Whatever their origin, they had provided Vasari with an opportunity of displaying his inventiveness and taste, and the result was a collection of from twenty to thirty funeral monuments of various graceful70 shapes, decorated with broken columns, reversed torches, urns52, crosses, wreaths, and other objects emblematic72 of death and immortality73.
But what interested me most in this collection was a sort of grim humour, which had taken the shape of placing on these monuments the names of many distinguished74 men, and from my knowledge of the artist's character, I readily discerned that the persons thus selected were those from whose opinions he differed. I suppose his eccentricity75 found a kind of pleasure in thus consigning76 to the tomb men whom he disliked. Some of the epitaphs served only to display the morbid77 vanity of the man, as, for instance:—
"Sacred to the Memory of
Frederick, Lord Leighton,
p. r. a.,
Who was succeeded in the Presidential Chair
Superior Artist,
Angelo Vasari."
A future Walpole in search of "Anecdotes79 of Painting" must not overlook the following curious incident:—
[Pg 218]
"In Memoriam,
Alma Tadema,
The Star among Artists,
Who died with grief at the eclipse of his name
by the Rising Sun,
Angelo Vasari."
"Egad!" said the Baronet, who was looking on with the half-abstracted air that he had displayed since the discovery of George's likeness. "I don't wonder he shut the portfolio up when he came to this exhibition of his vanity. What a conceited80 fool the fellow is!"
Casually81 turning over the rest of these drawings, we came upon the following singular epitaph, inscribed82 on a monument crowned with a piece of sculpture representing the Crucifixion:
Giotto,
Who, in his zeal for Art,
Casuists call Morality,
And whose example inspired the genius of
Angelo Vasari,
With the idea that gave birth to that Noble
Masterpiece,
'The Fall of C?sar.'"
"Giotto? Giotto?" repeated the Baronet with a thoughtful air. "He means the Giotto, of course."
"Without doubt," responded my uncle. "But what[Pg 219] does he mean by the words, 'setting at defiance those fantastic notions which casuists call morality?'"
"Can't say, I'm sure," replied Sir Hugh. "I'm not sufficiently85 versed71 in Giotto's history to understand the allusion86. But perhaps Frank can explain it."
"I'm sorry to say I'm exactly in your position," I returned.
"Learned gentlemen we are!" laughed the Baronet; and then, after a brief interval87 of silence, he continued:
"I would like to know what this allusion is—for a reason," he added in a grave tone. "It refers undoubtedly88 to some incident in Giotto's career; if we knew what this incident was, it might furnish us with a clue to the mystery that surrounds the production of Angelo's picture."
"Well, let us try to solve the enigma89," said I, going to a bookcase, and taking therefrom a volume entitled The History of Early Italian Art. "Here's a book that is sure to contain a biography of Giotto."
I turned to the index, and having found the pages referring to Giotto, I glanced hastily over the biography of the great "Fa Presto," stopping now and then to read aloud, for the edification of the Baronet and my uncle, some item that I deemed worthy90 of notice. At length, in the course of my reading, I came to the following passage:
"A horrible story is told in connexion with his picture of 'The Crucifixion.' It is said that Giotto persuaded the man who acted as his model to be tied to a cross, and while in this helpless state he stabbed him, in order that he might be the better enabled to limn91 with ghastly fidelity92 the dying agonies of the Saviour93."
"What do you think of that?" said I, looking up[Pg 220] from my reading. "If that isn't setting morality at defiance, what is?"
"You've hit on it," said the Baronet. "That's the story Angelo's alluding94 to, for see! he has put the Crucifixion scene on the tomb. But what does he call Giotto's deed? 'A zeal for art?' Surely he doesn't approve this horrible act?"
"It would seem so from his language," I returned blankly.
"'Whose example,'" said the Baronet, reading from the epitaph, and tracing the words with his forefinger95, "'inspired the genius of Angelo Vasari with the idea that gave birth to that noble masterpiece, "The Fall of C?sar."' What can he mean, Leslie?" he continued, addressing my uncle. "Not," he added with a grim smile, "that he, too, stabbed his model for the sake of an artistic effect. That would be too much of a joke, to murder a man for the sake of producing a realistic picture. And yet," he concluded with a perplexed air, "that's the only meaning one can give to his words."
He stared uneasily at my uncle, who stared uneasily at me.
"I don't know what to think of it," said my uncle. "He certainly seems to approve Giotto's act, and intimates that he copied his example in painting his own picture. This must be the language of a madman!"
"There's method in his madness, then," remarked the Baronet. "He had wit enough to hide this from the ladies this morning."
We read daily of terrible murders committed by men who are mere65 names to us. In the columns of the newspaper such crimes do not seem out of place—they are quite natural; we almost look for them; but[Pg 221] to learn that a person within our own circle—who has sat at our table, and is on familiar terms with us—has his hands stained with the blood of his fellow-man; this is so new an experience that we can not bring ourselves to believe.
For a long time we sat looking at each other in silent surprise, not knowing what to make of the singular effusion to the memory of Giotto.
"It must be, it must be!" murmured the Baronet at length. "It's quite clear to me that Angelo stabbed his model."
"No, no, it can't be!" exclaimed my uncle, unable to keep his chair in his excitement, and nervously96 pacing the apartment. "You do not really think that Angelo would murder a fellow-mortal merely to produce a realistic picture?"
"Why not?" replied the Baronet coolly, as if the supposititious act, were the most natural one in the world. "Such instances have occurred in the history of art—science, too, has had its murders. Did not Vesalius on one occasion dissect97 a living man? From his boyhood Angelo has thirsted for fame as an artist. His long line of early failures, therefore, may have had the effect of disturbing his mental balance. Constant brooding over the neglect offered to his genius may have so obliterated98 the line that divides right from wrong as to have led him, in despair of obtaining success by any other method, to imitate the example of Giotto."
"Good God! And this man might have been my son-in-law!" cried my uncle.
"Let me congratulate you upon your lucky deliverance from such a relationship."
"If Angelo is an assassin," said my uncle, "who was the victim?"
[Pg 222]
"That is the question which the picture will answer."
"You mean that Angelo has transferred the features of the dead without alteration100 to the canvas?"
"That is my meaning—yes."
"And yet," remonstrated101 my uncle, "he exhibits his picture at Paris in a public gallery open to all. That is the very way to betray himself."
"Exactly, if the dead man were a well-known person, which probably he was not."
I sat silent, revolving102 in my mind the whole history of the strange picture, as I was by no means disposed to accept the Baronet's theory that Angelo was an actual assassin. I remembered the date assigned by the artist for the completion of his work. It was Christmas Day—the day of my brother's departure for the Continent. I recalled the red stain on his vest. Could it be that both George and Angelo were concerned in a murder? But why should one remain and the other become a fugitive103? Was it the more guilty of the two that had fled? and had Angelo for his own purpose simply taken advantage of a deed that George alone had committed? Was the officer who had caused the fracas104 in the Vasari Gallery at Paris none other than George, who, angry with the artist for having painted a picture that might lead to the detection of the crime, had attempted to destroy it. Was the silver-haired old man—Matteo Caritio—an accessory to the deed? Touched with remorse105, had he confessed his part in the plot to the priest of Rivoli, only to meet with death a day later at the hand of the man whose secret he had betrayed?
"You see now, Leslie," said he, "why he exercised[Pg 223] such secrecy over the production of this picture, and why he kept his studio-door locked while painting it. It was because the model that he painted from, the model for his fallen C?sar, was, in point of fact, a dead man."
My uncle's reply was startling in its suggestiveness:
"That may have been the reason why he kept his studio-door locked then; but why does he keep it locked now?"
"Yes—over this new picture of the girl-martyr?" said I.
The Baronet had not considered this point.
"Why—does—he—keep—his—door—locked—now?" he repeated, pausing in a curiously107 deliberative manner between each word. "Ah, why?" He made a long pause. "Not for a similar reason, surely? And yet—" he made another long pause. "He said at breakfast, you know, that he might finish his picture to-day. He was playing with his knife, very curiously at the time. What could he mean? Good God! what could he mean? Not that——"
He paused, afraid to give utterance108 to his suspicions. For a few moments we durst not speak, for a dim presentiment109 of some awful tragedy to come had stolen over us.
The Baronet was the first to break silence.
"Sir Hugh," said my uncle sternly, "if Angelo be the fiend you think him, he must be arrested at once."
"That will require a magistrate111's warrant," I said.
"Right; and we will procure112 it without delay," observed the Baronet, rising. "Colonel Montague is the nearest magistrate. He lives at the Manse—five miles[Pg 224] from here. The carriage can take us there and back in an hour, and——"
His further words were checked by the sudden appearance of Fruin, who, without having waited to knock, entered the room, and, brimful of excitement, cried:
"I've found the picture, Sir Hugh!"
"The devil you have! Where on earth was it?"
"In the Nuns' Tower, to be sure!"
"The Nuns' Tower! How did you manage to get in there?"
Fruin's manner changed at once from excitement to soberness.
"Well, Sir Hugh," he began with the air of a penitent113, "it was wrong, I admit, to play the spy on a gentleman, but—but— It's this way, you see. I have always been suspicious of Mr. Vasari and his doings, so—so that's how it was, you know. I haven't been doing exactly what's right, but—but—you see——"
He hesitated and stammered114 so much that the impatient Baronet, with a deprecatory wave of his hand, cried:
"There, there, go on. I forgive beforehand everything you've done in consideration of your having found the picture."
Highly gratified by this plenary indulgence, the butler began again in a more confident tone:
"Well, Sir Hugh, you remember that Mr. Vasari hadn't been here a week before I said to you, 'That Italian gentleman has come here for no good?'"
"I remember it, Fruin; and I told you not to pass remarks on my visitors."
"So you did, Sir Hugh, so you did," replied the butler, nodding, as if the reprimand were a decided[Pg 225] compliment; "and I went off in a huff, determined to keep my own counsel for the future; determined, too, in spite of your rebuff, Sir Hugh, to keep a watchful115 eye on the foreign gentleman. Foreigners are always suspicious characters," he added digressively. "What first made me suspicious of Mr. V.," he continued, "was your telling me that he had chosen the Nuns' Tower as a studio. Why couldn't he take a nice cheerful room in the Abbey, and not that cold stone cell? 'You've got a motive for living in that place,' I thought to myself. 'You're up to something queer, and you want to get as far away from us as you can, so that we shall not be able to overhear anything.' Then, when I learned that, with the exception of Adams, who lights the fire in the morning, no one must enter his studio, not even you, Sir Hugh, I grew more suspicious still. 'What's your little game?' I thought. Why, do you know, I've looked out of my bedroom window at one, two, and three in the morning, and I've seen a light burning in the tower! What's he doing there at that unearthly hour? He can't be painting. No one paints by lamplight. I've long had a desire to have a peep in at that tower, to learn what goes on there; and so the other day, when Mr. Vasari had gone to London, I got the blacksmith to examine the lock of the door for the purpose of making a key to fit it. Here it is," he continued, holding it aloft on his forefinger. "I received it only a quarter of an hour ago, but as soon as I got it I went at once to the tower to have a look at the place before Mr. Vasari should return. Brown and Tompkins were with me, carrying dark lanterns. We tried the key, and the door opened easily. Brown and Tompkins didn't like to enter—they were afraid—so they stood at the head of the steps and turned the light of their[Pg 226] bull's-eye into the place, for of course it was quite dark, while I went in. I looked round—there was no one there—and while looking round, my eye was caught by something peeping out from under the fringe of tapestry116. I lifted the curtain, and there was the picture behind the tapestry, reared up against the wall."
He paused, out of breath, for he had been talking very fast.
"It was well for you that Angelo was not there," remarked the Baronet gravely, and speaking with a knowledge of the artist's character gained only within the past few minutes. "He might have resented your intrusion with a pistol-shot. He's quite capable of it."
"Ah! that he is," cried the old servant, surprised and delighted to find his master coming round to his way of thinking—"that he is! Angelo may be his name, but Devilo would suit him better, and so would you say, Sir Hugh, if you had seen his face this morning when you were accusing us servants—us!" protested Fruin, emphasizing the word with some dignity, "of stealing the picture. I was watching him, and if you could have seen his wicked looks and the sparkle of his eyes you wouldn't have wondered at that girl's fright. Others of us noticed his manner, but we didn't like to speak out. I am certain he was laughing in his sleeve at you, Sir Hugh, and saying to himself, 'Don't you wish you may find the picture again!' It struck me at the time that it was he who had removed it."
I interposed with a question which I was burning to put:
"What did you see in the studio besides the picture?"
[Pg 227]
"I was so delighted at finding the picture that I didn't stop to examine the place, but hurried here at once to tell Sir Hugh of my discovery."
"But you couldn't enter the place without seeing something of it," I persisted. "Tell us anything you did see. What's the place like?"
"Well, sir, there was the usual furniture—the table and the chairs of carved oak. The walls and floor are of stone, you know. There's tapestry round the walls, and the floor is covered with yellow sand—why, I don't know. It's a whim117 of his, I suppose. There was an easel with a picture on it, which I didn't look at, brushes, paints, palettes, and things of that sort on the table, and—and that's all I can remember," he added.
"Did you see nothing more?" I asked. "Where was the artist's model that Angelo spoke of at breakfast this morning—the lay figure that he paints from?"
"I saw nothing resembling a lay figure. But then I wasn't in the place above a few seconds, and it was in half-darkness all the time."
"Is 'The Fall of C?sar' damaged in any way?" asked the Baronet.
"Not in the least, Sir Hugh."
"What have you done with it?"
"I told Brown and Tompkins to carry it to the gallery."
"Quite right. Place it somewhere in the gallery—anywhere will do for the present. See that it's done, Fruin, and then lock the place up and bring the keys here. Give me the key of the Nuns' Tower. I will examine that place to-night myself."
Fruin, laying the key down on the table, departed on his errand.
[Pg 228]
"I'm off to the gallery," said I, preparing to follow the butler; "I must see that picture."
"No, no, not now," said the Baronet authoritatively118, and laying a restraining hand upon my arm. "Time flies, and every moment is of value. Never mind the gallery for the present, unless you wish Angelo to escape us. I want you to take up your station at the entrance-hall of the Abbey, so as to be ready to 'shadow' Angelo the moment he returns. Keep a watchful eye on him, for should he overhear that the picture is found—and I daresay the servants are talking of nothing else at this present moment—he will be sure to seek safety in flight, knowing well that his crime is discovered. Detain him at the Abbey by every means in your power till we return with a constable119 and the warrant for his arrest. Should he show a disposition120 to bolt, give the servants orders to seize him. Don't hesitate; I will take the responsibility."
"Supposing the guests should return without him, what then?" I asked.
"Then you may depend upon it that he has fled. In that case, off to the railway-station at once; make use of my name; telegraph a description of him to the Chief Constable of Penzance: say that a warrant is out for his arrest; and you may be in time to check his flight. Come, Leslie."
"Stay a minute!" I cried, as both moved towards the door. "What will the warrant charge Angelo with?"
"With murder, of course."
"Stop! How can a warrant for murder be issued against a man unless you know the name of the victim?"
"But I do know the name of the victim."
[Pg 229]
"You yourself have told me."
And with these words—a complete enigma to me—the Baronet darted122 off, accompanied by my uncle, who looked every whit42 as bewildered as myself.
I was on the point of going to the hall, there to await Angelo, when Fruin came into the room.
"Has Sir Hugh gone out?" he asked.
"Yes, but only for a little while," I answered. "Do you want him particularly?"
"Only to give him these keys," the butler replied, laying them on a table.
"Have you put the picture back in the gallery?"
"Yes, sir; stood it on a table in the middle of the hall. Mr. Vasari must be very strong to have been able to carry it off by himself. It takes two of us to lift it."
"Ah! Have the company returned yet?"
"No, sir, they will not be back for a long time."
"Why, how's that?"
"We've just had a boy from the vicarage to say so. Miss Wyville has persuaded them all to accompany the church choir123 in a round of carol singing."
I found the news particularly agreeable. Sir Hugh could now procure the warrant without Angelo's having any idea of what was in store for him, and I should have ample time to study the weird124 picture and to examine the interior of the Nuns' Tower, two occupations in which I resolved to have no companion. A vague feeling of peril125 gave a charm to the idea. I did not know what form the peril might take, but determined to be prepared for it in any shape, I took the liberty of borrowing a brace59 of loaded pistols which Sir Hugh kept in a drawer of his writing-table.
[Pg 230]
"One for the ghost in the gallery," I said cheerfully to myself as I slipped it into my hip99 pocket, "and one for the artist in the studio," and I slipped the second into the other hip pocket. "And now for the masterpiece."
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1
zeal
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| n.热心，热情，热忱 | |
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2
stimulated
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| a.刺激的 | |
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3
inspection
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| n.检查，审查，检阅 | |
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4
tinged
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| v.（使）发丁丁声( ting的过去式和过去分词 ) | |
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5
hues
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| 色彩( hue的名词复数 )； 色调； 信仰； 观点 | |
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6
ivy
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| n.常青藤，常春藤 | |
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7
nuns
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| n.（通常指基督教的）修女， （佛教的）尼姑( nun的名词复数 ) | |
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8
solitary
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| adj.孤独的，独立的，荒凉的；n.隐士 | |
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9
grandeur
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| n.伟大，崇高，宏伟，庄严，豪华 | |
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10
reverted
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| 恢复( revert的过去式和过去分词 )； 重提； 回到…上； 归还 | |
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11
tenant
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| n.承租人；房客；佃户；v.租借，租用 | |
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12
disappearance
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| n.消失，消散，失踪 | |
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13
loath
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| adj.不愿意的；勉强的 | |
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14
agitation
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| n.搅动；搅拌；鼓动，煽动 | |
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15
disarm
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| v.解除武装，回复平常的编制，缓和 | |
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16
motive
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| n.动机，目的；adv.发动的，运动的 | |
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17
determined
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| adj.坚定的；有决心的 | |
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18
entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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19
detrimental
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| adj.损害的，造成伤害的 | |
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20
concocting
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| v.将（尤指通常不相配合的）成分混合成某物( concoct的现在分词 )；调制；编造；捏造 | |
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21
peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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22
wards
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| 区( ward的名词复数 )； 病房； 受监护的未成年者； 被人照顾或控制的状态 | |
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23
situated
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| adj.坐落在...的，处于某种境地的 | |
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24
casement
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| n.竖铰链窗；窗扉 | |
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25
surmounted
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| 战胜( surmount的过去式和过去分词 )； 克服（困难）； 居于…之上； 在…顶上 | |
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26
cloister
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| n.修道院；v.隐退，使与世隔绝 | |
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27
vow
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| n.誓(言)，誓约；v.起誓，立誓 | |
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28
subterranean
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| adj.地下的，地表下的 | |
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29
doom
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| n.厄运，劫数；v.注定，命定 | |
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30
chasm
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| n.深坑，断层，裂口，大分岐，利害冲突 | |
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31
spoke
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| n.（车轮的）辐条；轮辐；破坏某人的计划；阻挠某人的行动 v.讲，谈（speak的过去式）；说；演说；从某种观点来说 | |
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32
applied
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| adj.应用的；v.应用，适用 | |
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33
drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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34
artistic
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| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
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35
paraphernalia
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| n.装备；随身用品 | |
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36
concealment
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| n.隐藏, 掩盖，隐瞒 | |
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37
panes
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| 窗玻璃( pane的名词复数 ) | |
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38
scrambled
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| v.快速爬行( scramble的过去式和过去分词 )；攀登；争夺；（军事飞机）紧急起飞 | |
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39
backwards
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| adv.往回地，向原处，倒，相反，前后倒置地 | |
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40
arena
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| n.竞技场，运动场所；竞争场所，舞台 | |
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41
simplicity
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| n.简单，简易；朴素；直率，单纯 | |
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42
whit
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| n.一点，丝毫 | |
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43
evoke
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| vt.唤起，引起，使人想起 | |
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44
relinquished
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| 交出，让给( relinquish的过去式和过去分词 )； 放弃 | |
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45
twilight
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| n.暮光，黄昏；暮年，晚期，衰落时期 | |
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46
secrecy
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| n.秘密，保密，隐蔽 | |
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47
delicacy
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| n.精致，细微，微妙，精良；美味，佳肴 | |
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48
concealed
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| a.隐藏的，隐蔽的 | |
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49
cynical
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| adj.(对人性或动机)怀疑的，不信世道向善的 | |
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50
espionage
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| n.间谍行为，谍报活动 | |
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51
spartans
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| n.斯巴达（spartan的复数形式） | |
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52
urns
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| n.壶( urn的名词复数 )；瓮；缸；骨灰瓮 | |
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53
thoroughly
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| adv.完全地，彻底地，十足地 | |
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54
allotted
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| 分配，拨给，摊派( allot的过去式和过去分词 ) | |
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55
investigation
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| n.调查，调查研究 | |
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56
portfolio
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| n.公事包；文件夹；大臣及部长职位 | |
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57
sketches
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| n.草图( sketch的名词复数 )；素描；速写；梗概 | |
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58
sketch
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| n.草图；梗概；素描；v.素描；概述 | |
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59
brace
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| n. 支柱,曲柄,大括号; v. 绷紧,顶住,(为困难或坏事)做准备 | |
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60
likeness
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| n.相像，相似（之处） | |
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61
destitute
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| adj.缺乏的；穷困的 | |
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62
pointed
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| adj.尖的，直截了当的 | |
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63
perplexed
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| adj.不知所措的 | |
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64
laurels
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| n.桂冠，荣誉 | |
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65
mere
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| adj.纯粹的；仅仅，只不过 | |
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66
exclamation
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| n.感叹号，惊呼，惊叹词 | |
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67
eyebrows
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| 眉毛( eyebrow的名词复数 ) | |
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68
remarkable
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| adj.显著的，异常的，非凡的，值得注意的 | |
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69
cemetery
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| n.坟墓，墓地，坟场 | |
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70
graceful
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| adj.优美的，优雅的；得体的 | |
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71
versed
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| adj. 精通，熟练 | |
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72
emblematic
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| adj.象征的，可当标志的；象征性 | |
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73
immortality
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| n.不死，不朽 | |
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74
distinguished
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| adj.卓越的，杰出的，著名的 | |
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75
eccentricity
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| n.古怪，反常，怪癖 | |
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76
consigning
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| v.把…置于（令人不快的境地）( consign的现在分词 )；把…托付给；把…托人代售；丟弃 | |
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77
morbid
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| adj.病的；致病的；病态的；可怕的 | |
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78
eminent
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| adj.显赫的，杰出的，有名的，优良的 | |
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79
anecdotes
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| n.掌故，趣闻，轶事( anecdote的名词复数 ) | |
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80
conceited
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| adj.自负的，骄傲自满的 | |
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81
casually
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| adv.漠不关心地，无动于衷地，不负责任地 | |
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82
inscribed
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| v.写，刻( inscribe的过去式和过去分词 )；内接 | |
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83
sublime
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| adj.崇高的，伟大的；极度的，不顾后果的 | |
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84
defiance
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| n.挑战，挑衅，蔑视，违抗 | |
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85
sufficiently
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| adv.足够地，充分地 | |
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86
allusion
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| n.暗示，间接提示 | |
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87
interval
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| n.间隔，间距；幕间休息，中场休息 | |
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88
undoubtedly
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| adv.确实地，无疑地 | |
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89
enigma
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| n.谜，谜一样的人或事 | |
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90
worthy
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| adj.(of)值得的，配得上的；有价值的 | |
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91
limn
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| v.描画；描述 | |
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92
fidelity
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| n.忠诚，忠实；精确 | |
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93
saviour
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| n.拯救者，救星 | |
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94
alluding
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| 提及，暗指( allude的现在分词 ) | |
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95
forefinger
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| n.食指 | |
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96
nervously
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| adv.神情激动地，不安地 | |
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97
dissect
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| v.分割；解剖 | |
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98
obliterated
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| v.除去( obliterate的过去式和过去分词 )；涂去；擦掉；彻底破坏或毁灭 | |
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99
hip
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| n.臀部，髋；屋脊 | |
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100
alteration
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| n.变更，改变；蚀变 | |
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101
remonstrated
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| v.抗议( remonstrate的过去式和过去分词 )；告诫 | |
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102
revolving
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| adj.旋转的，轮转式的；循环的v.（使）旋转( revolve的现在分词 )；细想 | |
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103
fugitive
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| adj.逃亡的，易逝的；n.逃犯，逃亡者 | |
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104
fracas
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| n.打架；吵闹 | |
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105
remorse
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| n.痛恨，悔恨，自责 | |
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106
forth
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| adv.向前；向外，往外 | |
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107
curiously
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| adv.有求知欲地；好问地；奇特地 | |
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108
utterance
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| n.用言语表达，话语，言语 | |
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109
presentiment
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| n.预感，预觉 | |
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110
hoarse
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| adj.嘶哑的，沙哑的 | |
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111
magistrate
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| n.地方行政官，地方法官，治安官 | |
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112
procure
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| vt.获得，取得，促成；vi.拉皮条 | |
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113
penitent
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| adj.后悔的；n.后悔者；忏悔者 | |
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114
stammered
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| v.结巴地说出( stammer的过去式和过去分词 ) | |
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115
watchful
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| adj.注意的，警惕的 | |
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116
tapestry
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| n.挂毯，丰富多采的画面 | |
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117
whim
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| n.一时的兴致，突然的念头；奇想，幻想 | |
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118
authoritatively
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| 命令式地，有权威地，可信地 | |
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119
constable
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| n.(英国)警察，警官 | |
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120
disposition
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| n.性情，性格；意向，倾向；排列，部署 | |
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121
amazement
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| n.惊奇，惊讶 | |
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122
darted
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| v.投掷，投射( dart的过去式和过去分词 )；向前冲，飞奔 | |
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123
choir
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| n.唱诗班，唱诗班的席位，合唱团，舞蹈团；v.合唱 | |
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124
weird
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| adj.古怪的，离奇的；怪诞的，神秘而可怕的 | |
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peril
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| n.(严重的)危险；危险的事物 | |
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