where hung the portrait, for there was one which he was especially bent on showing, not only as a picture but almost as a puzzle. The little priest trudged along with them; he seemed to know something about old pictures as well as about old prayers.
'I'm rather proud of having spotted this,' said Wood.' I believe it's a Holbein. If it isn't, there was somebody living in Holbein's time who was as great as Holbein.'
It was a portrait in the hard but sincere and living fashion of the period, representing a man clad in black trimmed with gold and fur, with a heavy, full, rather pale face but watchful eyes.
'What a pity art couldn't have stopped for ever at just that transition stage,' cried Wood, 'and never transitioned any more. Don't you see it's just realistic enough to be real? Don't you see the face speaks all the more because it stands out from a rather stiffer framework of less essential things? And the eyes are even more real than the face. On my soul, I think the eyes are too real for the face! It's just as if those sly, quick eyeballs were protruding out of a great pale mask.'
'The stiffness extends to the figure a little, I think,' said Payne. 'They hadn't quite mastered anatomy when medievalism ended, at least in the north. That left leg looks to me a good deal out of drawing.'
'I'm not so sure,' replied Wood quietly. 'Those fellows who painted just when realism began to be done, and before it began to be overdone, were often more realistic than we think. They put real details of portraiture into things that are thought merely conventional. You might say this fellow's eyebrows or eye–sockets are a little lop– sided; but I bet if you knew him you'd find that one of his eyebrows did really stick up more than the other. And I shouldn't wonder if he was lame or something, and that black leg was meant to be crooked.'
'What an old devil he looks!' burst out Payne suddenly. 'I trust his reverence will excuse my language.'
'I believe in the devil, thank you,' said the priest with an inscrutable face. 'Curiously enough there was a legend that the devil was lame.'
'I say,' protested Payne, 'you can't really mean that he was the devil; but who the devil was he?'
'He was the Lord Darnaway under Henry VII and Henry VIII,' replied his companion. 'But there are curious legends about him, too; one of them is referred to in that inscription round the frame, and further developed in some notes left by somebody in a book I found here. They are both rather curious reading.'
Payne leaned forward, craning his head so as to follow the archaic inscription round the frame. Leaving out the antiquated lettering and spelling, it seemed to be a sort of rhyme running somewhat thus:
In the seventh heir I shall return: In the seventh hour I shall depart: None in that hour shall hold my hand: And woe to her that holds my heart.
'It sounds creepy somehow,' said Payne, 'but that may be partly because I don't understand a word of it.'
'It's pretty creepy even when you do,' said Wood in a low voice. 'The record made at a later date, in the old book I found, is all about how this beauty deliberately killed himself in such a way that his wife was executed for his murder. Another note commemorates a later tragedy, seven successions later– under the Georges–in which another Darnaway committed suicide, having first thoughtfully left poison in his wife's wine. It's said that both suicides took place at seven in the evening. I suppose the inference is that he does really return with every seventh inheritor and makes things unpleasant, as the rhyme suggests, for any lady unwise enough to marry him.'
'On that argument,' replied Payne, 'it would be a trifle uncomfortable for the next seventh gentleman.'
Wood's voice was lower still as he said: 'The new heir will be the seventh.'
Harry Payne suddenly heaved up his great chest and shoulders like a man flinging off a burden.
'What crazy stuff are we all talking?' he cried. 'We're all educated men in an enlightened age, I suppose. Before I came into this damned dank atmosphere I'd never have believed I should be talking of such things, except to laugh at them.'
'You are right,' said Wood. 'If you lived long enough in this underground palace you'd begin to feel differently about things. I've begun to feel very curiously about that picture, having had so much to do with handling and hanging it. It sometimes seems to me that the painted face is more alive than the dead faces of the people living here; that it is a sort of talisman or magnet: that it commands the elements and draws out the destinies of men and things. I suppose you would call it very fanciful.'
'What is that noise?' cried Payne suddenly.
They all listened, and there seemed to be no noise except the dull boom of the distant sea; then they began to have the sense of something mingling with it; something like a voice calling through the sound of the surf, dulled by it at first, but coming nearer and nearer. The next moment they were certain: someone was shouting outside in the dusk.
Payne turned to the low window behind him and bent to look out. It was the window from which nothing could be seen except the moat with its reflection of bank and sky. But that inverted vision was not the same that he had seen before. From the hanging shadow of the bank in the water depended two dark shadows reflected from the feet and legs of a figure standing above upon the bank. Through that limited aperture they could see nothing but the two legs black against the reflection of a pale and livid sunset. But somehow that very fact of the head being invisible, as if in the clouds, gave something dreadful to the sound that followed; the voice of a man crying aloud what they could not properly hear or understand. Payne especially was peering out of the little window with an altered face, and he spoke with an altered voice:
'How queerly he's standing!'
'No, no,' said Wood, in a sort of soothing whisper. 'Things often look like that in reflection. It's the wavering of the water that makes you think that.'
'Think what?' asked the priest shortly.
'That his left leg is crooked,' said Wood.
Payne had thought of the oval window as a sort of mystical mirror; and it seemed to him that there were in it other inscrutable images of doom. There was something else beside the figure that he did not understand; three thinner legs showing in dark lines against the light, as if some monstrous three–legged spider or bird were standing beside the stranger. Then he had the less crazy thought of a tripod like that of the heathen oracles; and the next moment the thing had vanished and the legs of the human figure passed out of the picture.
He turned to meet the pale face of old Vine, the steward, with his mouth open, eager to speak, and his single tooth showing. 'He has come,' he said. 'The boat arrived from Australia this morning.'
Even as they went back out of the library into the central salon they heard the footsteps of the newcomer clattering down the entrance steps, with various items of light luggage trailed behind him. When Payne saw one of them, he laughed with a reaction of relief. His tripod was nothing but the telescopic legs of a portable camera, easily packed and unpacked; and the man who was carrying it seemed so far to take on equally solid and normal qualities. He was dressed in dark clothes, but of a careless and holiday sort; his shirt was of grey flannel, and his boots echoed uncompromisingly enough in those still chambers. As he strode forward to greet his new circle his stride had scarcely more than the suggestion of a limp. But Payne and his companions were looking at his face, and could scarcely take their eyes from it.
He evidently felt there was something curious and uncomfortable about his reception; but they could have sworn that he did not himself know the cause of it. The lady, supposed to be in some sense already betrothed to him, was certainly beautiful enough to attract him; but she evidently also frightened him. The old steward brought him a sort of feudal homage, yet treated him as if he were the family ghost. The priest still looked at him with a face which was quite indecipherable, and therefore perhaps all the more unnerving. A new sort of irony, more like the Greek irony, began to pass over Payne's mind. He had dreamed of the stranger as a devil, but it seemed almost worse that he was an unconscious destiny. He seemed to march towards crime with the monstrous innocence of Oedipus. He had approached the family mansion in so blindly buoyant a spirit as to have set up his camera to photograph his first sight of it; and even the camera had taken on the semblance of the tripod of a tragic pythoness.
Payne was surprised, when taking his leave a little while after, at something which showed that the Australian was already less unconscious of his surroundings. He said in a low voice:
'Don't go … or come again soon. You look like a human being. This place fairly gives me the jumps.'
When Payne emerged out of those almost subterranean halls and came into the night air and the smell of the sea, he felt as if he had come out of that underworld of dreams in which events jumble on top of each other in a way at once unrestful and unreal.
The arrival of the strange relative had been somehow unsatisfying and, as it were, unconvincing. The
