Old Fires and Profitable Ghosts Part 19

"Thank you, I too have a pair in my pocket. But I do not need them.

The guineas are good weight, all but this one, which is possibly a couple of grains short."

"Surely you cannot rely on your hand to tell you that?"

His eyebrows went up as he felt in his pocket and produced a small velvet-lined case containing a pair of scales. He was a decidedly handsome young man, with dark intelligent eyes and a slightly scornful-- or shall I say ironical?--smile. I took particular note of the steadiness of his hand as he adjusted the scales and weighed my guinea.

"To be precise," he announced, "1.898, or practically one and nine-tenths short."

"I should have thought," said I, fairly astounded, "a lifetime too little for acquiring such delicacy of sense!"

He seemed to ponder. "I dare say you are right, sir," he answered, and was silent again until the business of payment was concluded.

While folding the receipt he added, "I am a connoisseur of coins, sir, and not of their weight alone."

"Antique, as well as modern?"

"Certainly."

"In that case," said I, "you may be able to tell me something about this": and going to my bureau I took out the bra.s.s plaque which Mr.

Pollard had detached from the planks of the church wall. "To be sure, it scarcely comes within the province of numismatics."

He took the plaque. His brows contracted, and presently he laid it on the table, drew my chair towards him in an absent-minded fashion, and, sitting down, rested his brow on his open palms. I can recall the att.i.tude plainly, and his bent head, and the rain still glistening in the waves of his black hair.

"Where did you find this?" he asked, but without looking up.

I told him. "The engraving upon it is singular. I thought that possibly--"

"Oh, that," said he, "is simplicity itself. An eagle displayed, with two heads, the legs resting on two gates, a crescent between, an imperial crown surmounting--these are the arms of the Greek Empire, the two gates are Rome and Constantinople. The question is, how it came where you found it? It was covered with plaster, you say, and the plaster whitewashed? Did you discover anything near it?"

Upon this I told him of the frescoes and charcoal drawings, and roughly described them.

His fingers began to drum upon the table.

"Have you any doc.u.ments which might tell us when the wall was first plastered?"

"The parish accounts go back to 1594--here they are: the Registers to 1663 only. I keep them in the vestry. I can find no mention of plastering, but the entries of expenditure on whitewashing occur periodically, the first under the year 1633." I turned the old pages and pointed to the entry "_Ite paide to George mason for a dayes work about the churche after the Jew had been, and white wa.s.sche is vjd_."

"A Jew? But a Jew had no business in England in those days. I wonder how and why he came." My visitor took the old volume and ran his finger down the leaf, then up, then turned back a page. "Perhaps this may explain it," said he. "_Ite deliued Mr. Beuill to make puision for the companie of a fforeste barke yt came ash.o.a.re iiis ivd_." He broke off, with a finger on the entry, and rose. "Pray forgive me, sir; I had taken your chair."

"Don't mention it," said I. "Indeed I was about to suggest that you draw it to the fire while Frances brings in some supper."

To be short, although he protested he must push on to the inn at Porthlooe, I persuaded him to stay the night; not so much, I confess, from desire of his company, as in the hope that if I took him to see the frescoes next morning he might help me to elucidate their history.

I remember now that during supper and afterwards my guest allowed me more than my share of the conversation. He made an admirable listener, quick, courteous, adaptable, yet with something in reserve (you may call it a facile tolerance, if you will) which ended by irritating me.

Young men should be eager, fervid, _sublimis cupidusque_, as I was before my beard grew stiff. But this young man had the air of a spectator at a play, composing himself to be amused. There was too much wisdom in him and too little emotion. We did not, of course, touch upon any religious question--indeed, of his own opinions on any subject he disclosed extraordinarily little: and yet as I reached my bedroom that night I told myself that here, behind a mask of good manners, was one of those perniciously modern young men who have run through all beliefs by the age of twenty, and settled down to a polite but weary atheism.

I fancy that under the shadow of this suspicion my own manner may have been cold to him next morning. Almost immediately after breakfast we set out for the church. The day was sunny and warm; the atmosphere brilliant after the night's rain. The hedges exhaled a scent of spring.

And, as we entered the churchyard, I saw the girl Julia Constantine seated in her favourite angle between the porch and the south wall, threading a chain of daisies.

"What an amazingly handsome girl!" my guest exclaimed.

"Why, yes," said I, "she has her good looks, poor soul!"

"Why 'poor soul'?"

"She is an imbecile, or nearly so," said I, fitting the key in the lock.

We entered the church. And here let me say that, although I furnished you at the time of their discovery with a description of the frescoes and the ruder drawings which overlay them, you can scarcely imagine the grotesque and astonishing _coup d'oeil_ presented by the two series.

To begin with the frescoes, or original series. One, as you know, represented the Crucifixion. The head of the Saviour bore a large crown of gilded thorns, and from the wound in His left side flowed a continuous stream of red gouts of blood, extraordinarily intense in colour (and intensity of colour is no common quality in fresco-painting). At the foot of the cross stood a Roman soldier, with two female figures in dark-coloured drapery a little to the right, and in the background a man clad in a loose dark upper coat, which reached a little below the knees.

The same man reappeared in the second picture, alone, but carrying a tall staff or hunting spear, and advancing up a road, at the top of which stood a circular building with an arched doorway and, within the doorway, the head of a lion. The jaws of this beast were open and depicted with the same intense red as the Saviour's blood.

Close beside this, but further to the east, was a large ship, under sail, which from her slanting position appeared to be mounting over a long swell of sea. This vessel had four masts; the two foremost furnished with yards and square sails, the others with lateen-shaped sails, after the Greek fashion; her sides were decorated with six gaily painted bands or streaks, each separately charged with devices--a golden saltire on a green ground, a white crescent on a blue, and so on; and each masthead bore a crown with a flag or streamer fluttering beneath.

Of the frescoes these alone were perfect, but fragments of others were scattered over the wall, and in particular I must mention a group of detached human limbs lying near the ship--a group rendered conspicuous by an isolated right hand and arm drawn on a larger scale than the rest.

A gilded circlet adorned the arm, which was flexed at the elbow, the hand horizontally placed, the forefinger extended towards the west in the direction of the picture of the Crucifixion, and the thumb shut within the palm beneath the other three fingers.

So much for the frescoes. A thin coat of plaster had been laid over them to receive the second series, which consisted of the most disgusting and fantastic images, traced in black. One of these drawings represented Satan himself--an erect figure, with hairy paws clasped in a supplicating posture, thick black horns, and eyes which (for additional horror) the artist had painted red and edged with a circle of white.

At his feet crawled the hindmost limb of a peculiarly loathsome monster with claws stuck in the soil. Close by a nun was figured, sitting in a pensive att.i.tude, her cheek resting on the back of her hand, her elbow supported by a hideous dwarf, and at some distance a small house, or prison, with barred windows and a small doorway crossed with heavy bolts.

As I said, this upper series had been but partially sc.r.a.ped away, and as my guest and I stood at a little distance, I leave you to imagine, if you can, the incongruous tableau; the Prince of Darkness almost touching the mourners beside the cross; the sorrowful nun and grinning dwarf side by side with a ship in full sail, which again seemed to be forcing her way into a square and forbidding prison, etc.

Mr. Laquedem conned all this for some while in silence, holding his chin with finger and thumb.

"And it was here you discovered the plaque?" he asked at length.

I pointed to the exact spot.

"H'm!" he mused, "and that ship must be Greek or Levantine by its rig.

Compare the crowns on her masts, too, with that on the plaque . . ."

He stepped to the wall and peered into the frescoes. "Now this hand and arm--"

"They belong to me," said a voice immediately behind me, and turning, I saw that the poor girl had followed us into the church.

The young Jew had turned also. "What do you mean by that?" he asked sharply.

"She means nothing," I began, and made as if to tap my forehead significantly.

"Yes, I do mean something," she persisted. "They belong to me.

I remember--"

"What do you remember?"

Her expression, which for a moment had been thoughtful, wavered and changed into a vague foolish smile. "I can't tell . . . something . . .

it was sand, I think . . ."

"Who is she?" asked Mr. Laquedem.

"Her name is Julia Constantine. Her parents are dead; an aunt looks after her--a sister of her mother's."