"I don't quite understand."
"I will show you. These figures must be divided into numbers, and a letter set over each. Now, the first number is twenty, and the twentieth letter of the alphabet is 'T.' The twenty-first letter is 'U.' Then come the eighteenth and the fourteenth letters. What are they?"
Frank counted. "'R' and 'N,'" he said, after a pause. "Ah! I see the first word is T, U, R, N,--that is turn!"
"Exactly; represented by numbers, 20, 21, 18, 14. Now you understand, so I need not explain further. Here is the cypher written out."
Young Parsons took up the paper and read as follows:
T u r n k e y I e f t e y e 20 21 18 14 11 5 25 12 5 6 20 5 25 5 8 c h e r u b H 3 8 5 18 21 2
"Turn key left eye eighth cherub!" repeated Parsons, in puzzled tones. "I have no doubt that you have solved the problem correctly; but, I do not know what the sentence means."
"Well," said Hagar, rather sharply, "it means, I should think, that the left eye of some cherub's head is a keyhole, into which is to be thrust the copper key upon which the figures are engraved. Doubtless, by turning the key the wall will open, and the picture will be discovered."
"What a clever girl you are!" cried Parsons, in admiration.
"I use my brains, that is all," said Hagar, coolly. "I'm afraid you don't. However, are there a number of sculptured cherubs in Danetree Hall?"
"Yes; there is a room called 'The Cherubs' Room,' from a number of carved heads. How did you guess that there was more than one?"
"Because the letter 'H' corresponds with the figure eight; so no doubt there are more than eight heads. All you have to do is to take this copper key, put it into the left eye of the eighth cherub, and find the picture. Then you can marry Miss Danetree, and the pair of you can live on the thirty thousand pounds. If she is as clever as you, you'll need it all."
Quite impervious to Hagar's irony, Frank Parsons took his leave with many admiring words and protestations of gratitude. When he found the picture he promised to let Hagar know, and to invite her to Danetree Hall to see it. Then he departed, and it was only when she was left alone that Hagar reflected she had not got back the pound lent on the key. But she consoled herself with the reflection that she could demand it when the hidden picture was discovered. Principal and interest was what she required; for Hagar was nothing if not businesslike.
That same evening Frank was seated in the prim little parlor with his dour father. He had been up to the Hall, and had proved the truth of Hagar's reading by discovering the picture; also he had seen Marion Danetree, and told her of the good fortune which was coming. She would be able to buy back the lost acres of the family, to restore and refurnish the old house, to take up her position again in the county, and reign once more as the lady of Danetree Hall. All this Frank told his father, and the old man's brow grew black as night.
"You have made her rich!" he muttered--"that proud girl who looks upon you as dirt beneath her feet."
Frank smiled. He had not told his father the termination of the interview with Marion; nor did he intend to do so at present.
"We'll talk of Marion and her pride to-morrow," he said, rising; "I am going to bed just now; but you know how I discovered the picture, and how it has been restored to the Danetrees as grandfather wished."
When his son left the room, Luke Parsons sat with folded hands and a dull pain in his heart. It was gall and wormwood to him that the woman who rejected Frank should acquire wealth and regain her position through the aid of the man she despised. Oh, if he could only hide the picture, or even destroy it!--anything rather than that proud Marion Danetree should be placed on an eminence to look down on his bright boy. To rob her of this newly-found wealth--to take away the picture---Parsons felt that he would commit even a crime.
And why should he not? Frank had left the key on the table--the copper key which was to be placed in the left eye of the cherub. Parsons knew well enough--from the explanation of his son--how the key was to be used; how his father had designed the hiding-place of the Castagno picture. The lock and key which had belonged to the First Charles had been given to the old man by his master. He had placed the first behind the cherub, with the keyhole in the left eye, so as to keep the panel or portion of the wall in its place; and on the second he had graven the numbers indicating the locality. Parsons rose to his feet and stretched out his hand for the copper key. When he touched it, all his scruples vanished. He made up his mind then and there to go up that night to the Hall and destroy the picture. Then Marion Danetree would no longer be rich, or benefit by the secret which Frank had discovered. It will be seen that Mr. Parsons never thought of Hagar's share in the reading of the cypher.
As steward he had keys of all the doors in the Hall, and was able easily to gain admission at whatever hour he chose. He chose to enter now, and with a lantern in his hand, and a clasp-knife hidden in his pocket, he went on his errand of destruction. Unlocking a small side door under the greater terrace, he passed along the dark underground passages, ascending to the upper floor, and in a short space of time he found himself in "The Cherubs' Room."
It was a large and lofty apartment, paneled with oak darkened by time and carved with fruit and flowers and foliage after the mode of Grinling Gibbons. Between each panel there was a beautifully-carven cherub's head, with curly hair, and wings placed crosswise under the chin. The moonlight streaming in through the wide and uncurtained windows showed all these things clearly to the wild eyes of the old man; and he made haste to fulfil his task before the moon should set and leave him in darkness. Swinging the lantern so that its yellow light should illuminate the walls, Parsons counted the cherubs' heads between the panels, starting from the door, and was rewarded by finding the one he sought. The left eye of this face was pierced, and into it he inserted the slender copper stem of the key. There was a cracking sound as he turned it, and then the whole of the panel swung outward to the left. On the back of this he beheld the picture of Andrea del Castagno. The sight of it was so unexpected that he started back with a cry, and let fall the lantern, which was immediately extinguished. However, this mattered little, as he had ample light in the rays of the summer moon. In the white radiance he relighted his candle, and then, betwixt the yellow glare of the one and the chill glimmer of the other, he examined the gem of art which, in the interests of mistaken pride, he proposed to destroy. It was beautiful beyond description.
Under a lowly roof of thatched straw lay the Divine Child, stretching up His little Hands to the Holy Mother. With arms crossed upon her breast in ecstatic adoration, Mary bent over Him worshiping; and in the dim obscurity of the humble dwelling could be seen the tall form and reverend head of Joseph. Above spread the dark blue of the night sky, broken by golden dashes of color, in which were seen the majestic forms of wide-winged angels looking earthward. At the top of the picture there was a blaze of light radiating from the Godhead, and in the arrowy beam streaming downward floated the white specter of the Holy Dove. The marvelous beauty of the picture lay in the dispersion and disposition of the various lights: that mild luster which emanated from the Form of the Child, the aureole hovering round the bowed head of Mary; the glory of the golden atmosphere surrounding the angels; and, highest and most wonderful of all, the fierce white light which showered down, blinding the terrible, from the unseen Deity. The picture was majestic, sublime: a dream of lovely piety, a masterpiece of art.
For the moment Parsons was spellbound before this wounderful creation which he intended to destroy. Almost he was tempted to forego his evil purpose, and to spare the beautiful vision which spread itself so gloriously before trial. But the thought of Marion and her scorn, of Frank and his hopeless love, decided him With a look of hatred he opened the knife, and raised the blade to slash the picture.
"Stop!"
