Читать книгу The Collected Works of R. Austin Freeman (Illustrated Edition) - R. Austin Freeman - Страница 73

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The winter session had commenced at the hospital, but at Hampstead the month of October had set in with something like a return to summer. It is true that the trees had lost something of their leafy opulence, and that here and there, amidst the sober green, patches of russet and gold had made their appearance, as if Nature's colour-orchestra were tuning up for the final symphony. But, meanwhile, the sun shone brightly and with a genial heat, and if, day by day, he fell farther from the zenith, there was nothing to show it but the lengthening noonday shadows, the warmer blue of the sky and the more rosy tint of the clouds that sailed across it.

Other and more capable pens than mine have set forth the charm of autumn and the beauties of Hampstead—queen of suburbs of the world's metropolis; therefore will I refrain, and only note, as relevant to the subject, the fact that on many a day, when the work of the hospital was in full swing, I might have been seen playing truant very agreeably on the inexhaustible Heath or in the lanes and fields adjacent thereto. In truth, I was taking the final stage of my curriculum rather lazily, having worked hard enough in the earlier years, and being still too young by several months to be admitted to the fellowship of the College of Surgeons; promising myself that when the weather broke I would settle down in earnest to the winter's work.

I have mentioned that Millfield Lane was one of my favourite haunts; indeed, from my lodgings, it was the most direct route to the Heath, and I passed along it almost daily; and never, now, without my thoughts turning back to that rainy night when I had found the dead—or unconscious—man lying across the narrow footway. One morning, as I passed the spot, it occurred to me to make a drawing of the place in my sketch-book, that I might have some memorial of that strange adventure. The pictorial possibilities of the lane just here were not great, but by taking my stand at the turn, on the very spot where I had seen the body lying, I was able to arrange a simple composition which was satisfactory enough.

I am no artist. A neat and intelligible drawing is the utmost that I can produce. But even this modest degree of achievement may be very useful, as I had discovered many a time in the wards or laboratories—indeed, I have often been surprised that the instructors of our youth attach such small value to the power of graphic expression; and it came in usefully now, though in a way that was unforeseen and not fully appreciated at the moment. I had dealt adequately with the fence, the posts, the tree-trunks and other well-defined forms and was beginning a less successful attack on the foliage, when I heard a light, quick step approaching from Hampstead Lane. Intuition—if there is such a thing—fitted the foot-step with a personality, and, for once in a way, was right; as the newcomer reached the sharp bend of the path, I saw a girl of about my own age, simply and serviceably dressed and carrying a pochade box and a small camp-stool. She was not an entire stranger to me. I had met her often in the lane and on the Heath—so often in fact that we had developed that profound unconsciousness of one another's existence that almost amounts to recognition—and had wondered vaguely who she was and what sort of work she did on the panels in that mysterious box.

As I drew back to make way for her, she brushed past, with a single, quick, inquisitive glance at my sketchbook, and went on her way, looking very much alive and full of business. I watched her as she tripped down the lane and passed between the posts out into the sunlight beyond, to vanish behind the trunks of the elms; then I returned to my sketch and my struggles to express foliage with a touch somewhat less suggestive of a birch-broom.

When I had finished my drawing, I sauntered on rather aimlessly, speculating for the hundredth time on the meaning of those discoveries of mine in this very lane. Was it possible that the man whom I had seen was not dead, but merely insensible? I could not believe it. The whole set of circumstances—the aspect of the body, the blood-stain on the fence, the tracks through the high grass and the mysterious gold trinket—were opposed to any such belief. Yet, on the other hand, one would think that a man could not disappear unnoticed. This was no tramp or nameless vagrant. He was a clergyman or a priest, a man who would be known to a great number of persons and whose disappearance must surely be observed at once and be the occasion of very stringent enquiries. But no enquiries had apparently been made. I had seen no notice in the papers of any missing cleric, and clearly the police had heard nothing or they would have looked me up. The whole affair was enveloped in tho profoundest mystery. Dead or alive, the man had vanished utterly; and whether he was dead or alive, the mystery was equally beyond solution.

These reflections brought me, almost unconsciously, to another of my favourite walks; the pretty footpath from the Heath to Temple Fortune. I had crossed the stile and stepped off the path to survey the pleasant scene, when my eye was attracted by a number of streaks of alien colour on the leaves of a burdock. Stooping down, I perceived that they were smears of oil-paint, and inferred that someone had cleaned a palette on the herbage; an inference that was confirmed a moment later by what looked like the handle of a brush projecting from a clump of nettles. When I drew it out, however, it proved to be not a brush, but a very curious knife with a blade shaped like a diminutive and attenuated trowel; evidently a painting-knife and also evidently home-made, at least in part, for the tang had been thrust into a short, stout brush-handle and secured with a whipping of waxed thread. I dropped it into my outside breast pocket and went on my way, wondering if by chance it might have been dropped by my fair acquaintance; and the thought was still in my mind when its object hove in sight. Turning a bend in the path, I came on her quite suddenly, perched on her little camp-stool in the shadow of the hedge, with the open sketching-book on her knees, working away with an industry and concentration that seemed to rebuke my own idleness. Indeed, she was so much engrossed with her occupation that she did not notice me until I stepped off the path and approached with the knife in my hand. "I wonder," said I, holding it out and raising my cap, "if this happens to be your property. I picked it up just now among the nettles near the barn."

She took the knife from me and looked at it inquisitively. "No," she replied, "it isn't mine, but I think I know whose it is. I suspect it belongs to an artist who has been doing a good deal of work about the Heath. You may have seen him."

"I have seen several artists working about here during the summer. What was this one like?"

"Well," she answered with a smile, "he was like an artist. Very much like. Quite the orthodox get up. Wide brimmed hat, rather long hair and a ragged beard. And he wore sketching-spectacles—half-moon-shaped things, you know—and kid gloves—which were not quite so orthodox."

"Very inconvenient, I should think."

"Not so very. I work in gloves myself in the cold weather or if the midges are very troublesome. You soon get used to the feel of them; and the man I am speaking of wouldn't find them in the way at all because he works almost entirely with painting-knives. That is what made me think that this knife was probably his. He had several, I know, and very skilfully he used them, too."

"You have seen his work, then?"

"Well," she admitted, "I'm afraid I descended once or twice to play the 'snooper'. You see, his method of handling interested me."

"May I ask what a 'snooper' is?" I enquired.

"Don't you know? It's a student's slang name for the kind of person who makes some transparent pretext for coming off the path and passing behind you to get a look at your picture by false pretences."

For an instant there flashed into my mind the suspicion that she was administering a quiet "backhander", and I rejoined hastily: "I hope you are not including me in the genus 'snooper'."

She laughed softly. "It did sound rather like it. But I'll give you the benefit of the doubt in consideration of your finding the knife—which you had better keep in trust for the owner."

"Won't you keep it? You know the probable owner by sight and I don't; and meanwhile you might experiment with it yourself."

"Very well," she replied, dropping it into her brush-tray, "I'll keep it for the present at any rate."

There was a brief pause, and then I ventured to remark, "That looks a very promising sketch of yours. And how well the subject comes."

"I'm glad you like it," she replied, quite simply, viewing her work with her head on one side. "I want it to turn out well, because it's a commission, and commissions for small-oil paintings are rare and precious."

"Do you find small oil pictures very difficult to dispose of?" I asked.

"Not difficult. Impossible, as a rule. But I don't try now. I copy my oil sketches in water-colour, with modifications to suit the market."

Again there was a pause; and, as her brush wandered towards the palette, it occurred to me that I had stayed as long as good manners permitted. Accordingly, I raised my cap, and, having expressed the hope that I had not greatly hindered her, prepared to move away. "Oh, not at all," she answered; "and thank you for the knife, though it isn't mine—or, at any rate, wasn't. Good-morning."

With this and a pleasant smile and a little nod, she dismissed me; and once more I went my idle and meditative way.

It had been quite a pleasant little adventure. There is always something rather interesting in making the acquaintance of a person whom one has known some time by sight but who is otherwise an unknown quantity. The voice, the manner, and the little revelations of character, which confirm or contradict previous impressions, are watched with interest as they develop themselves and fill in, one by one, the blank spaces of the total personality. I had, as I have said, often met this industrious maiden in my walks and had formed the opinion that she looked a rather nice girl; an opinion that was probably influenced by her unusual good looks and graceful carriage. And a rather nice girl she had turned out to be; very dignified and self-possessed, but quite simple and frank—though, to be sure, her gracious reception of me had probably been due to my sketch-book; she had taken me for a kindred spirit. She had a pleasant voice and a faultless accent, with just a hint of the fine lady in her manner; but I liked her none the less for that. And her name was a pretty name, too, if I had guessed it correctly; for, on the inside of the lid of her box, which was partly uncovered by the upright panel, I had read the letters "Syl". The panel hid the rest, but the name could hardly be other than Sylvia; and what more charming and appropriate name could be bestowed upon a comely young lady who spent her days amidst the woods and fields of my beloved Hampstead?

Regaling myself with this somewhat small beer, I sauntered on along the grassy lane, between hedgerows that in the summer had been spangled with wild roses and that were now gay with the big, oval berries, sleek and glossy and scarlet, like overgrown beads of red coral; away, across the fields to Golder's Green and thence by Millfield Lane, back to my lodgings at Gospel Oak, and to my landlady, Mrs. Blunt, who had a few plaintive words to say respecting the disastrous effects of unpunctuality—and the resulting prolonged heat—on mutton cutlets and fried potatoes.

It had been an idle morning and apparently void of significant events; but yet, when I look back on it, I see a definite thread of causation running through its simple happenings, and I realize that, all unthinking, I had strung on one more bead to the chaplet of my destiny.