The Roman Hat Mystery is based on records actually to be found in the police archives of New York City. Ellery and his father, as usual, worked hand-in-hand on the case. During this period in his career Ellery was a detective-story writer of no mean reputation. Adhering to the aphorism that truth is often stranger than fiction, it was his custom to make notes of interesting investigations for possible use in his murder tales. The affair of the Hat so fascinated him that he kept unusually exhaustive notes, at his leisure coordinating the whole into fiction form, intending to publish it. Immediately after, however, he was plunged into another investigation which left him scant opportunity for business; and when this last case was successfully closed, Ellery’s father, the Inspector, consummated a lifelong ambition by retiring and moving to Italy, bag and baggage. Ellery, who had in this affair1 found the lady of his heart, was animated by a painful desire to do something “big” in letters; Italy sounded idyllic to him; he married with his father’s blessing and the three of them, accompanied by Djuna, went off to their new European home. The manuscript was utterly forgotten until I rescued it.
On one point, before I close this painfully unhandsome preface, I should like to make myself clear.
I have always found it extremely difficult to explain to strangers the peculiar affinity which bound Richard to Ellery Queen, as I must call them. For one thing, they are persons of by no means uncomplicated natures. Richard Queen, sprucely middle-aged after thirty-two years’ service in the city police, earned his Inspector’s chevrons not so much through diligence as by an extraordinary grasp of the technique of criminal investigation. It was said, for example, at the time of his brilliant detectival efforts during the now-ancient Barnaby-Ross murder-case,2 that “Richard Queen by this feat firmly establishes his fame beside such masters of crime-detection as Tamaka Hiero, Brillon the Frenchman, Kris Oliver, Renaud, and James Redix the Younger.”3
Queen, with his habitual shyness toward newspaper eulogy, was the first to scoff at this extravagant statement; although Ellery maintains that for many years the old man secretly preserved a clipping of the story. However that may be—and I like to think of Richard Queen in terms of human personality, despite the efforts of imaginative journalists to make a legend of him—I cannot emphasize too strongly the fact that he was heavily dependent upon his son’s wit for success in many of his professional achievements.
This is not a matter of public knowledge. Some mementoes of their careers are still reverently preserved by friends: the small bachelor establishment maintained during their American residence on West 87th Street, and now a semiprivate museum of curios collected during their productive years; the really excellent portrait of father and son, done by Thiraud and hanging in the art-gallery of an anonymous millionaire; Richard’s precious snuffbox, the Florentine antique which he had picked up at an auction and which he thereafter held dearer than rubies, only to succumb to the blandishments of a charming old lady whose name he cleared of slander; Ellery’s enormous collection of books on violence, perhaps as complete as any in the world, which he regretfully discarded when the Queens left for Italy; and, of course, the many as yet unpublished documents containing records of cases solved by the Queens and now stored away from prying eyes in the City’s police archives.
But the things of the heart—the spiritual bonds between father and son—have until this time remained secret from all except a few favored intimates, among whom I was fortunate enough to be numbered. The old man, perhaps the most famous executive of the Detective Division in the last half-century, overshadowing in public renown, it is to be feared, even those gentlemen who sat briefly in the Police Commissioner’s suite—the old man, let me repeat, owed a respectable portion of his reputation to his son’s genius.
In matters of pure tenacity, when possibilities lay frankly open on every hand, Richard Queen was a peerless investigator. He had a crystal-clear mind for detail; a retentive memory for complexities of motive and plot; a cool viewpoint when the obstacle seemed insuperable. Give him a hundred facts, bungled and torn, out of proportion and sequence, and he had them assembled in short order. He was like a bloodhound who follows the true scent in the clutter of a hopelessly tangled trail.
But the intuitive sense, the gift of imagination, belonged to Ellery Queen, the fiction writer. The two might have been twins possessing abnormally developed faculties of mind, impotent by themselves but vigorous when applied one to the other. Richard Queen, far from resenting the bond which made his success so spectacularly possible—as a less generous nature might have done—took pains to make it plain to his friends. The slender, gray old man whose name was anathema to contemporary lawbreakers, used to utter his “confession,” as he called it, with a naivete explicable only on the score of his proud fatherhood.
One word more. Of all the affairs pursued by the two Queens this, which Ellery has titled “The Roman Hat Mystery” for reasons shortly to be made clear, was surely the crowning case of them all. The dilettante of criminology, the thoughtful reader of detective literature, will understand as the tale unfolds why Ellery considers the murder of Monte Field worthy of study. The average murderer’s motives and habits are fairly accessible to the criminal specialist. Not so, however, in the case of the Field killer. Here the Queens dealt with a person of delicate perception and extraordinary finesse. In fact, as Richard pointed out shortly after the denouement, the crime planned was
