someone else so attractive and entertaining, even though he dismissed the emotion itself as both childish and dangerous.
CHAPTER 9
They left Smithfield, taking a different route back into the city, past the ditch which smelt so rank and fetid that even Cranston, filled to his gills with wine, stopped to gag and cover his nose. The coroner made a mental note to include in his treatise a special chapter on the cleaning of the ditch. They hurried past Cock Lane. The mouth of the street was thronged with whores in scarlet, red or violet dresses; one of them, swaying her hips and making her breasts dance, shouted: 'Sir John! Sir John! See us now!'
Cranston turned, a broad smile on his expansive face, not caring about Athelstan standing beside him, writhing in embarrassment.
'All my girls!' he muttered. 'All my lovely girls!'
Then, urged on by Athelstan, they continued past Newgate into the Shambles and Westchepe. The city was fairly silent, quieter than usual due to the great tournament at Smithfield. The city authorities had taken care to use the day to process certain cases in the court. A number of whores caught and convicted at their second offence were being taken, their heads shaved, a white wand in their hands, down towards the Tun near Cornhill, the open gaol where they stood to be reviled by any passerby. They did not seem to mind, each patting her head and calling out that her hair would soon grow, which was more than could be said for the balding bailiffs escorting them. A liar or perjurer stood in the docks, a great whetstone round his neck, a placard proclaiming that he was a false perjurer and breaker of oaths; beside him a hapless youth who had stolen a leg of mutton and was standing there with the piece of meat, now well decaying and buzzing with flies, slung round his neck. Athelstan watched the scene around him and tried to keep his mind free of Benedicta and the petty jealousies which nagged him.
They found the Springall house deserted except for a few servants. By the looks of them, they had been playing whilst the cat was away. Most of them were well gone in their cups and offered no objection when Cranston knocked at the door and demanded entrance. The old retainer who had received them on their first visit tried to help but Cranston pushed him gently away, saying it was a holiday and besides he was here at Sir Richard's request to pursue his inquiries privately. Naturally, the fragrant smell of wine reminded Cranston of how long it had been since he had refreshed himself so he ordered a large jug and the deepest goblet to be found in the kitchen.
He followed Athelstan as the friar went from one canvas painting to the next. Cranston showed himself surprisingly knowledgeable on the subject of the paintings they examined. He claimed that some were the work of Edward Prince, an artist who lived in the north of the city. Athelstan half listened to Cranston's chatter, trying to remember where he had seen the painting of Eve in the garden enchanted by the serpent. At last he recalled it was not in the Nightingale Gallery but in the one running to the left.
Followed by Cranston, who was now staggering, Athelstan went upstairs and removed the huge canvas painting from the wall. He cursed. It was apparent that someone else had realised the painting might hold the key to Sir Thomas's mystery. The wood at the back of the painting was deeply scored with a dagger as if someone had been searching for some secret crevice or compartment. Yet there was nothing.
'It is useless, Brother!' Cranston murmured, pouring himself another cup of claret. 'It is absolutely bloody useless! There is nothing here. And the other two? The reference to Death on a pale horse in the Apocalypse, and the shoemaker? We're wasting our time.'
Athelstan made him sit on the floor with his back to the wall and, crouching down beside him, told him quietly what he had learnt: how the wood carving being made for the coronation pageant might hold a clue to the killer's identity. Cranston, despite his befuddled wits, heard him out then bellowed in righteous indignation.
'Why didn't you tell me before? It makes sense. It's possible. But why didn't you tell me?'
Athelstan found nothing more amusing than Cranston portraying virtue outraged and let the coroner ramble on until he had exhausted his litany of complaint. Athelstan heaved the painting back on the wall. After that he went from chamber to chamber, from corridor to corridor, looking for other canvases which might fit the verse from the Apocalypse. Cranston staggered behind him, holding a wine cup in one hand and the jug in the other. They found nothing. Of course, certain chambers were locked: Sir Richard's and Lady Isabella's, for instance. With Cranston bouncing along the Nightingale Gallery, the whole house seemed to sing with noise. Sir Thomas's chamber, deserted except for a bed, table, and other sticks of furniture was, surprisingly, open. Cranston stared round. There was no painting here either. The walls were bare. Athelstan went over to the window and stared down at the chess table.
'You know, Sir John, if we find nothing this afternoon then I agree, we should record verdicts of suicide and murder and leave this matter alone for we are making little progress.'
He heard a loud crash behind him. Cranston had placed the wine cup and jug beside the bed, collapsed on to the mattress and was smiling beatifically at the ceiling, fast asleep. Athelstan sighed, went over, and with great difficulty arranged Sir John's huge body more comfortably on the bed. Then he sat beside him. He had not brought his writing tray or materials but mentally he went through each of the deaths he had investigated, trying to fix a pattern, with little success. Cranston snored gently like a child, muttering now and again and smacking his lips. Athelstan grinned as he heard the words 'Refreshment' and 'Some cups of sack!' Sir John burped noisily, rolled on one side and, if Athelstan had not been there, would have fallen completely off the bed. Athelstan let the coroner sleep. Why not? After all, there was only one painting which fitted the texts and that held nothing. His thoughts strayed to Benedicta. Was she missing him? Why had she talked so easily to that nobleman? Were all women like that? Had he done wrong in inviting her in the first place?
He picked up the wine cup and sipped from it and then sat on the bed next to Sir John, staring down at the great wooden bed posters. He dozed and was about to fall asleep when suddenly he woke with a start. The carvings! Especially the one on the right… He got off the bed and went around. Whoever had constructed the bed post had created a vivid scene. The serpent carved there seemed to writhe, its tongue darting, whilst its intended victim, Eve, stood like the personification of innocence with one hand covering her groin, the other raised to hold back her long flowing hair. In between them was the drooping branch of an apple tree. Even in wood the fruit seemed full and lush. Athelstan stood for a moment in disbelief, then he moved over to the other bed post: there, in the centre, the artist had etched a life-like horse. The dark brown of the wood made the creature seem real, one leg raised, head arched, and on its back a frightening, ghostly figure with a hood. Peeping out from beneath it was the skeletal face of Death itself. Athelstan gasped with excitement and went round to rouse the coroner.
'Sir John! Wake up!'
The coroner moved, snored and smacked his lips.
'Sir John!' Athelstan slapped him gently on the face. The coroner's eyes opened.
'My dear Maude…'
'I am not Maude!' Athelstan replied sharply. 'Sir John, I have discovered something.'
'A cup of sack?'
Athelstan refilled the goblet and held it to the coroner's lips. 'For God's sake, Sir John, wake up!'
The coroner sat up, shaking the sleep from his eyes, and stared blearily round.
'For God's sake, Friar, what has happened now?'
Athelstan showed him. At first, his mind dulled with sleep and wine, Cranston stared blankly but the significance of the friar's discovery gradually dawned on him. Without more ado, the coroner began to finger the carving of the figure of Death, probing and pressing it.
'There must be a secret compartment. I have heard of such in the Italian mode, built into chairs, tables and desks. I have even heard of hiding places in beds but never seen one.'
Their search was fruitless so they moved to the other bed post. They pushed different parts of the carving but nothing moved. Suddenly Cranston looked up and nudged Athelstan.
'Look, Brother!'
Athelstan stared across at the bed post where a small block of wood on which the carving had rested had now opened outwards like a door.
'The mechanism must be in this bed post, with a spring that runs here under the boarding and up into the other.'
