There is really nothing more to tell, but, as you may imagine, the Professor’s views on certain points are less clear-cut than they used to be.
His nerves, too, have suffered: he cannot even now see a surplice hanging on a door quite unmoved, and the spectacle of a scarecrow in a field late on a winter afternoon has cost him more than one sleepless night.
The Treasure of Abbot Thomas
I
Verum usque in præsentem diem multa garriunt inter se Canonici de abscondito quodam istius Abbatis Thomæ thesauro, quem sæpe, quanquam adhuc incassum, quæsiverunt Steinfeldenses. Ipsum enim Thomam adhuc florida in ætate existentem ingentem auri massam circa monasterium defodisse perhibent; de quo multoties interrogatus ubi esset, cum risu respondere solitus erat: “Job, Johannes, et Zacharias vel vobis vel posteris indicabunt”; idemque aliquando adiicere se inventuris minime invisurum. Inter alia huius Abbatis opera, hoc memoria præcipue dignum iudico quod fenestram magnam in orientali parte alæ australis in ecclesia sua imaginibus optime in vitro depictis impleverit: id quod et ipsius effigies et insignia ibidem posita demonstrant. Domum quoque Abbatialem fere totam restauravit: puteo in atrio ipsius effosso et lapidibus marmoreis pulchre cælatis exornato. Decessit autem, morte aliquantulum subitanea perculsus, ætatis suæ anno lxxiido, incarnationis vero Dominic mdxxixo.
“I SUPPOSE I SHALL have to translate this,” said the antiquary to himself, as he finished copying the above lines from that rather rare and exceedingly diffuse book, the Sertum Steinfeldense Norbertinum.† “Well, it may as well be done first as last,” and accordingly the following rendering was very quickly produced:
Up to the present day there is much gossip among the Canons about a certain hidden treasure of this Abbot Thomas, for which those of Steinfeld have often made search, though hitherto in vain. The story is that Thomas, while yet in the vigor of life, concealed a very large quantity of gold somewhere in the monastery. He was often asked where it was, and always answered, with a laugh: “Job, John, and Zechariah will tell either you or your successors.” He sometimes added that he should feel no grudge against those who might find it. Among other works carried out by this Abbot I may specially mention his filling the great window at the east end of the south aisle of the church with figures admirably painted on glass, as his effigy and arms in the window attest. He also restored almost the whole of the Abbot’s lodging, and dug a well in the court of it, which he adorned with beautiful carvings in marble. He died rather suddenly in the seventy-second year of his age, AD 1529.
The object which the antiquary had before him at the moment was that of tracing the whereabouts of the painted windows of the Abbey Church of Steinfeld. Shortly after the Revolution, a very large quantity of painted glass made its way from the dissolved abbeys of Germany and Belgium to this country, and may now be seen adorning various of our parish churches, cathedrals, and private chapels.
Steinfeld Abbey was among the most considerable of these involuntary contributors to our artistic possessions (I am quoting the somewhat ponderous preamble of the book which the antiquary wrote), and the greater part of the glass from that institution can be identified without much difficulty by the help, either of the numerous inscriptions in which the place is mentioned, or of the subjects of the windows, in which several well-defined cycles or narratives were represented.
The passage with which I began my story had set the antiquary on the track of another identification.
In a private chapel—no matter where—he had seen three large figures, each occupying a whole light in a window, and evidently the work of one artist. Their style made it plain that the artist had been a German of the 16th century; but hitherto the more exact localizing of them had been a puzzle. They represented—will you be surprised to hear it?—JOB PATRIARCHA, JOHANNES EVANGELISTA, ZACHARIAS PROPHETA, and each of them held a book or scroll, inscribed with a sentence from his writings.
These, as a matter of course, the antiquary had noted, and had been struck by the curious way in which they differed from any text of the Vulgate that he had been able to examine. Thus the scroll in Job’s hand was inscribed: Auro est locus in quo absconditur (for conflatur);† on the book of John was: Habent in vestimentis suis scripturam quam nemo novit (for in vestimento scriptum, the following words being taken from another verse);†† and Zacharias had: Super lapidem unum septem oculi sunt (which alone of the three presents an unaltered text).†††
A sad perplexity it had been to our investigator to think why these three personages should have been placed together in one window. There was no bond of connection between them—either historic, symbolic, or doctrinal—and he could only suppose that they must have formed part of a very large series of Prophets and Apostles, which might have filled, say, all the clerestory windows of some capacious church.
But the passage from the Sertum had altered the situation by showing that the names of the actual personages represented in the glass now in Lord D——’s chapel had been constantly on the lips of Abbot Thomas von Eschenhausen of Steinfeld, and that this Abbot had put up a painted window, probably about the year 1520, in the south aisle of his abbey church.
It was no very wild conjecture that the three figures might have formed part of Abbot Thomas’ offering; it was one which, moreover, could probably be confirmed or set aside by another careful examination of the glass. And, as Mr. Somerton was a man of leisure, he set out on pilgrimage to the private chapel with very little delay.
His conjecture was confirmed to the full. Not only did the style and technique of the glass suit perfectly with the date and place required, but in another window of the chapel he found some glass, known to have been bought along with the figures, which contained the arms of Abbot Thomas von Eschenhausen.
At intervals during his researches Mr. Somerton had been haunted by the recollection of the gossip about the hidden treasure, and, as he thought the matter over, it became more and more obvious to him that if the Abbot meant anything by the enigmatical answer which he gave to his questioners, he must have meant that the secret was to be found somewhere in the window he had placed in the abbey church.
It was undeniable, furthermore, that the first of the curiously-selected texts on the scrolls in the window might be taken to have a reference to hidden treasure.
Every feature, therefore, or mark which could possibly assist in elucidating the riddle which, he felt sure, the Abbot had set to posterity he noted with scrupulous care, and, returning to his Berkshire manor-house, consumed many a pint of the midnight oil over his tracings and sketches.
After two or three weeks, a day came when Mr. Somerton announced to his man that he must pack his own and his master’s things for a short journey abroad, whither for the moment we will not follow him.
II
Mr. Gregory, the Rector of Parsbury, had strolled out before breakfast, it being a fine autumn morning, as far as the gate of his carriage-drive, with intent to meet the postman and sniff the cool air. Nor was he disappointed of either purpose.
Before he had had time to answer more than ten or eleven of the miscellaneous questions propounded to him in the lightness of their hearts by his young offspring, who had accompanied him, the postman was seen approaching; and among the morning’s budget was one letter bearing a foreign postmark and stamp (which became at once the objects of an eager competition among the youthful Gregorys), and was addressed in an uneducated, but plainly an English hand.
When the Rector opened it, and turned to the signature, he realized that it came from the confidential valet of his friend and squire, Mr. Somerton. Thus it ran:
HONORD SIR,
Has I am in a great anxeity about Master I write at is Wish to Beg you Sir if you could be so good as Step over. Master Has add a Nastey Shock and keeps His Bedd. I never Have known Him like this but No wonder and Nothing will serve but you Sir. Master says would I mintion the Short Way Here is Drive to Cobblince and take a Trap. Hopeing I Have maid all Plain, but am much Confused in Myself w
hat with Anxiatey and Weakfulness at Night. If I might be so Bold Sir it will be a Pleasure to see a Honnest Brish Face among all These Forig ones.
I am Sir
Your obedt Servt
WILLIAM BROWN.
P.S.—The Villiage for Town I will not Turm It is name Steenfeld.
The reader must be left to picture to himself in detail the surprise, confusion, and hurry of preparation into which the receipt of such a letter would be likely to plunge a quiet Berkshire parsonage in the year of grace 1859. It is enough for me to say that a train to town was caught in the course of the day, and that Mr. Gregory was able to secure a cabin in the Antwerp boat and a place in the Coblentz train. Nor was it difficult to manage the transit from that center to Steinfeld.
I labor under a grave disadvantage as narrator of this story in that I have never visited Steinfeld myself, and that neither of the principal actors in the episode (from whom I derive my information) was able to give me anything but a vague and rather dismal idea of its appearance.
I gather that it is a small place, with a large church despoiled of its ancient fittings; a number of rather ruinous great buildings, mostly of the 17th century, surround this church; for the abbey, in common with most of those on the Continent, was rebuilt in a luxurious fashion by its inhabitants at that period.
It has not seemed to me worthwhile to lavish money on a visit to the place, for though it is probably far more attractive than either Mr. Somerton or Mr. Gregory thought it, there is evidently little, if anything, of first-rate interest to be seen—except, perhaps, one thing, which I should not care to see.
The inn where the English gentleman and his servant were lodged is, or was, the only “possible” one in the village. Mr. Gregory was taken to it at once by his driver, and found Mr. Brown waiting at the door. Mr. Brown, a model when in his Berkshire home of the impassive whiskered race who are known as confidential valets, was now egregiously out of his element, in a light tweed suit, anxious, almost irritable, and plainly anything but master of the situation.
His relief at the sight of the “honest British face” of his Rector was unmeasured, but words to describe it were denied him. He could only say:
“Well, I ham pleased, I’m sure, sir, to see you. And so I’m sure, sir, will master.”
“How is your master, Brown?” Mr. Gregory eagerly put in.
“I think he’s better, sir, thank you; but he’s had a dreadful time of it. I ’ope he’s gettin’ some sleep now, but—”
“What has been the matter—I couldn’t make out from your letter? Was it an accident of any kind?”
“Well, sir, I ’ardly know whether I’d better speak about it. Master was very partickler he should be the one to tell you. But there’s no bones broke—that’s one thing I’m sure we ought to be thankful—”
“What does the doctor say?” asked Mr. Gregory.
They were by this time outside Mr. Somerton’s bedroom door, and speaking in low tones. Mr. Gregory, who happened to be in front, was feeling for the handle, and chanced to run his fingers over the panels. Before Brown could answer, there was a terrible cry from within the room.
“In God’s name, who is that?” were the first words they heard. “Brown, is it?”
“Yes, sir—me, sir, and Mr. Gregory,” Brown hastened to answer, and there was an audible groan of relief in reply.
They entered the room, which was darkened against the afternoon sun, and Mr. Gregory saw, with a shock of pity, how drawn, how damp with drops of fear, was the usually calm face of his friend, who, sitting up in the curtained bed, stretched out a shaking hand to welcome him.
“Better for seeing you, my dear Gregory,” was the reply to the Rector’s first question, and it was palpably true.
After five minutes of conversation Mr. Somerton was more his own man, Brown afterward reported, than he had been for days. He was able to eat a more than respectable dinner, and talked confidently of being fit to stand a journey to Coblentz within twenty-four hours.
“But there’s one thing,” he said, with a return of agitation which Mr. Gregory did not like to see, “which I must beg you to do for me, my dear Gregory. Don’t,” he went on, laying his hand on Gregory’s to forestall any interruption, “don’t ask me what it is, or why I want it done. I’m not up to explaining it yet; it would throw me back—undo all the good you have done me by coming.
“The only word I will say about it is that you run no risk whatever by doing it, and that Brown can and will show you tomorrow what it is. It’s merely to put back—to keep—something—No. I can’t speak of it yet. Do you mind calling Brown?”
“Well, Somerton,” said Mr. Gregory, as he crossed the room to the door, “I won’t ask for any explanations till you see fit to give them. And if this bit of business is as easy as you represent it to be, I will very gladly undertake it for you the first thing in the morning.”
“Ah, I was sure you would, my dear Gregory; I was certain I could rely on you. I shall owe you more thanks than I can tell. Now, here is Brown. Brown, one word with you.”
“Shall I go?” interjected Mr. Gregory.
“Not at all. Dear me, no. Brown, the first thing tomorrow morning—(you don’t mind early hours, I know, Gregory)—you must take the Rector to—there, you know” (a nod from Brown, who looked grave and anxious), “and he and you will put that back. You needn’t be in the least alarmed; it’s perfectly safe in the daytime. You know what I mean. It lies on the step, you know, where—where we put it.” (Brown swallowed dryly once or twice, and, failing to speak, bowed.) “And—yes, that’s all.
“Only this one other word, my dear Gregory. If you can manage to keep from questioning Brown about this matter, I shall be still more bound to you. Tomorrow evening, at latest, if all goes well, I shall be able, I believe, to tell you the whole story from start to finish.
“And now I’ll wish you good night. Brown will be with me—he sleeps here—and if I were you, I should lock my door. Yes, be particular to do that. They—they like it, the people here, and it’s better. Good night, good night.”
They parted upon this, and if Mr. Gregory woke once or twice in the small hours and fancied he heard a fumbling about the lower part of his locked door, it was, perhaps, no more than what a quiet man, suddenly plunged into a strange bed and the heart of a mystery, might reasonably expect. Certainly he thought, to the end of his days, that he had heard such a sound twice or three times between midnight and dawn.
He was up with the sun, and out in company with Brown soon after. Perplexing as was the service he had been asked to perform for Mr. Somerton, it was not a difficult or an alarming one, and within half-an-hour from his leaving the inn it was over. What it was I shall not as yet divulge.
Later in the morning Mr. Somerton, now almost himself again, was able to make a start from Steinfeld. And that same evening, whether at Coblentz or at some intermediate stage on the journey I am not certain, he settled down to the promised explanation.
Brown was present, but how much of the matter was ever really made plain to his comprehension he would never say, and I am unable to conjecture.
III
This was Mr. Somerton’s story:
“You know roughly, both of you, that this expedition of mine was undertaken with the object of tracing something in connection with some old painted glass in Lord D——’s private chapel. Well, the starting-point of the whole matter lies in this passage from an old printed book, to which I will ask your attention.”
And at this point Mr. Somerton went carefully over some ground with which we are already familiar.
“On my second visit to the chapel,” he went on, “my purpose was to take every note I could of figures, lettering, diamond engravings on the glass, and even apparently accidental markings.
“The first point which I tackled was that of the inscribed scrolls. I could not doubt that the first of these, that of Job—‘There is a place for the gold where it is hidden’—with its intentional alteration
, must refer to the treasure. So I applied myself with some confidence to the next, that of St. John—‘They have on their vestures a writing which no man knoweth.’
“The natural question will have occurred to you: was there an inscription on the robes of the figures? I could see none. Each of the three had a broad black border to his mantle, which made a conspicuous and rather ugly feature in the window. I was nonplussed, I will own, and but for a curious bit of luck I think I should have left the search where the Canons of Steinfeld had left it before me.
“But it so happened that there was a good deal of dust on the surface of the glass, and Lord D——, happening to come in, noticed my blackened hands, and kindly insisted on sending for a Turk’s-head broom to clean down the window. There must, I suppose, have been a rough piece in the broom. Anyhow, as it passed over the border of one of the mantles, I noticed that it left a long scratch, and that some yellow stain instantly showed up.
“I asked the man to stop his work for a moment, and ran up the ladder to examine the place. The yellow stain was there, sure enough, and what had come away was a thick black pigment, which had evidently been laid on with the brush after the glass had been burned, and could therefore be easily scraped off without doing any harm.
“I scraped, accordingly, and you will hardly believe—no, I do you an injustice; you will have guessed already—that I found under this black pigment two or three clearly-formed capital letters in yellow stain on a clear ground. Of course, I could hardly contain my delight.
“I told Lord D——that I had detected an inscription which I thought might be very interesting, and begged to be allowed to uncover the whole of it. He made no difficulty about it whatever, told me to do exactly as I pleased, and then, having an engagement, was obliged—rather to my relief, I must say—to leave me. I set to work at once, and found the task a fairly easy one.
“The pigment, disintegrated, of course, by time, came off almost at a touch, and I don’t think that it took me a couple of hours, all told, to clean the whole of the black borders in all three lights. Each of the figures had, as the inscription said, ‘a writing on their vestures which nobody knew.’