in February of last year there appeared upon Mr Williams's desk at the museum a catalogue from Mr Britnell's emporium, and accompanying it was a typewritten communication from the dealer himself. This latter ran as follows:
Dear Sir,
We beg to call your attention to No. 978 in our accompanying catalogue, which we shall be glad to send on approval.
Yours faithfully,
J. W. Britnell.
To turn to No. 978 in the accompanying catalogue was with Mr. Williams (as he observed to himself) the work of a moment, and in the place indicated he found the following entry:
978.—Unknown. Interesting mezzotint: View of a manor-house, early part of the century. 15 by 10 inches; black frame. £2 2s.
It was not specially exciting, and the price seemed high. However, as Mr Britnell, who knew his business and his customer, seemed to set store by it, Mr Williams wrote a postcard asking for the article to be sent on approval, along with some other engravings and sketches which appeared in the same catalogue. And so he passed without much excitement of anticipation to the ordinary labours of the day.
A parcel of any kind always arrives a day later than you expect it, and that of Mr Britnell proved, as I believe the right phrase goes, no exception to the rule. It was delivered at the museum by the afternoon post of Saturday, after Mr Williams had left his work, and it was accordingly brought round to his rooms in college by the attendant, in order that he might not have to wait over Sunday before looking through it and returning such of the contents as he did not propose to keep. And here he found it when he came in to tea, with a friend.
The only item with which I am concerned was the rather large, black-framed mezzotint of which I have already quoted the short description given in Mr Britnell's catalogue. Some more details of it will have to be given, though I cannot hope to put before you the look of the picture as clearly as it is present to my own eye. Very nearly the exact duplicate of it may be seen in a good many old inn parlours, or in the passages of undisturbed country mansions at the present moment. It was a rather indifferent mezzotint, and an indifferent mezzotint is, perhaps, the worst form of engraving known. It presented a full-face view of a not very large manor-house of the last century, with three rows of plain sashed windows with rusticated masonry about them, a parapet with balls or vases at the angles, and a small portico in the centre. On either side were trees, and in front a considerable expanse of lawn. The legend A. W. F. sculpsit was engraved on the narrow margin; and there was no further inscription. The whole thing gave the impression that it was the work of an amateur. What in the world Mr Britnell could mean by affixing the price of £2 2s. to such an object was more than Mr Williams could imagine. He turned it over with a good deal of contempt; upon the back was a paper label, the left-hand half of which had been torn off. All that remained were the ends of two lines of writing; the first had the letters—ngley Hall; the second,—ssex.
It would, perhaps, be just worth while to identify the place represented, which he could easily do with the help of a gazetteer, and then he would send it back to Mr Britnell, with some remarks reflecting upon the judgement of that gentleman.
He lighted the candles, for it was now dark, made the tea, and supplied the friend with whom he had been playing golf (for I believe the authorities of the University I write of indulge in that pursuit by way of relaxation); and tea was taken to the accompaniment of a discussion which golfing persons can imagine for themselves, but which the conscientious writer has no right to inflict upon any non-golfing persons.
The conclusion arrived at was that certain strokes might have been better, and that in certain emergencies neither player had experienced that amount of luck which a human being has a right to expect. It was now that the friend—let us call him Professor Binks—took up the framed engraving and said:
'What's this place, Williams?'
'Just what I am going to try to find out,' said Williams, going to the shelf for a gazetteer. 'Look at the back. Somethingley Hall, either in Sussex or Essex. Half the name's gone, you see. You don't happen to know it, I suppose?'
'It's from that man Britnell, I suppose, isn't it?' said Binks. 'Is it for the museum?'
'Well, I think I should buy it if the price was five shillings,' said Williams; 'but for some unearthly reason he wants two guineas for it. I can't conceive why. It's a wretched engraving, and there aren't even any figures to give it life.'
'It's not worth two guineas, I should think,' said Binks; 'but I don't think it's so badly done. The moonlight seems rather good to me; and I should have thought there were figures, or at least a figure, just on the edge in front.'
'Let's look,' said Williams. 'Well, it's true the light is rather cleverly given. Where's your figure? Oh, yes! Just the head, in the very front of the picture.'
And indeed there was—hardly more than a black blot on the extreme edge of the engraving—the head of a man or woman, a good deal muffled up, the back turned to the spectator, and looking towards the house.
Williams had not noticed it before.
'Still,' he said, 'though it's a cleverer thing than I thought, I can't spend two guineas of museum money on a picture of a place I don't know.'
Professor Binks had his work to do, and soon went; and very nearly up to Hall time Williams was engaged in a vain attempt to identify the subject of his picture. 'If the vowel before the ng had only been left, it would have been easy enough,' he thought; 'but as it is, the name may be anything from Guestingley to Langley, and there are many more names ending like this than I thought; and this rotten book has no index of terminations.'
Hall in Mr Williams's college was at seven. It need not be dwelt upon; the less so as he met there colleagues who had been playing golf during the afternoon, and words with which we have no concern were freely bandied across the table—merely golfing words, I would hasten to explain.
I suppose an hour or more to have been spent in what is called common-room after dinner. Later in the evening some few retired to Williams's rooms, and I have little doubt that whist was played and tobacco smoked. During a lull in these operations Williams picked up the mezzotint from the table without looking at it, and handed it to a person mildly interested in art, telling him where it had come from, and the other particulars which we already know.
The gentleman took it carelessly, looked at it, then said, in a tone of some interest:
'It's really a very good piece of work, Williams; it has quite a feeling of the romantic period. The light is admirably managed, it seems to me, and the figure, though it's rather too grotesque, is somehow very impressive.'
'Yes, isn't it?' said Williams, who was just then busy giving whisky and soda to others of the company, and was unable to come across the room to look at the view again.
It was by this time rather late in the evening, and the visitors were on the move. After they went Williams was obliged to write a letter or two and clear up some odd bits of work. At last, some time past midnight, he was disposed to turn in, and he put out his lamp after lighting his bedroom candle. The picture lay face upwards on the table where the last man who looked at it had put it, and it caught his eye as he turned the lamp down. What he saw made him very nearly drop the candle on the floor, and he declares now if he had been left in the dark at that moment he would have had a fit. But, as that did not happen, he was able to put down the light on the table and take a good look at the picture. It was indubitable—rankly impossible, no doubt, but absolutely certain. In the middle of the lawn in front of the unknown house there was a figure where no figure had been at five
