The Mystery of 31 New Inn, R. Austin Freeman [uplifting books for women .txt] 📗

I followed the direction of his gaze and saw an oblong frame enclosing a large photograph of an inscription in the weird and cabalistic arrow-head character. I looked at it in silence for some seconds and then, somewhat disappointed, remarked:

"I don't see anything very remarkable in it, under the circumstances. In any ordinary room it would be, I admit; but Stephen has just told us that his uncle was something of an expert in cuneiform writing."

"Exactly," said Thorndyke. "That is my point. That is what makes it so remarkable."

"I don't follow you at all," said I. "That a man should hang upon his wall an inscription that is legible to him does not seem to me at all out of the way. It would be much more singular if he should hang up an inscription that he could not read."

"No doubt," replied Thorndyke. "But you will agree with me that it would be still more singular if a man should hang upon his wall an inscription that he could read—and hang it upside down."

I stared at Thorndyke in amazement.

"Do you mean to tell me," I exclaimed, "that that photograph is really upside down?"

"I do indeed," he replied.

"But how do you know? Have we here yet another Oriental scholar?"

Thorndyke chuckled. "Some fool," he replied, "has said that 'a little knowledge is a dangerous thing.' Compared with much knowledge, it may be; but it is a vast deal better than no knowledge. Here is a case in point. I have read with very keen interest the wonderful history of the decipherment of the cuneiform writing, and I happen to recollect one or two of the main facts that seemed to me to be worth remembering. This particular inscription is in the Persian cuneiform, a much more simple and open form of the script than the Babylonian or Assyrian; in fact, I suspect that this is the famous inscription from the gateway at Persepolis—the first to be deciphered; which would account for its presence here in a frame. Now this script consists, as you see, of two kinds of characters; the small, solid, acutely pointed characters which are known as wedges, and the larger, more obtuse characters, somewhat like our government broad arrows, and called arrow-heads. The names are rather unfortunate, as both forms are wedge-like and both resemble arrow-heads. The script reads from left to right, like our own writing, and unlike that of the Semitic peoples and the primitive Greeks; and the rule for the placing of the characters is that all the 'wedges' point to the right or downwards and the arrow-head forms are open towards the right. But if you look at this photograph you will see that all the wedges point upwards to the left and that the arrow-head characters are open towards the left. Obviously the photograph is upside down."

"But," I exclaimed, "this is really most mysterious. What do you suppose can be the explanation?"

"I think," replied Thorndyke, "that we may perhaps get a suggestion from the back of the frame. Let us see."

He disengaged the frame from the two nails on which it hung, and, turning it round, glanced at the back; which he then presented for my inspection. A label on the backing paper bore the words, "J. Budge, Frame-maker and Gilder, 16, Gt. Anne Street, W.C."

"Well?" I said, when I had read the label without gathering from it anything fresh.

"The label, you observe, is the right way up as it hangs on the wall."

"So it is," I rejoined hastily, a little annoyed that I had not been quicker to observe so obvious a fact. "I see your point. You mean that the frame-maker hung the thing upside down and Jeffrey never noticed the mistake?"

"That is a perfectly sound explanation," said Thorndyke. "But I think there is something more. You will notice that the label is an old one; it must have been on some years, to judge by its dingy appearance, whereas the two mirror-plates look to me comparatively new. But we can soon put that matter to the test, for the label was evidently stuck on when the frame was new, and if the plates were screwed on at the same time, the wood that they cover will be clean and new-looking."

He drew from his pocket a "combination" knife containing, among other implements, a screw-driver, with which he carefully extracted the screws from one of the little brass plates by which the frame had been suspended from the nails.

"You see," he said, when he had removed the plate and carried the photograph over to the gasjet, "the wood covered by the plate is as dirty and time-stained as the rest of the frame. The plates have been put on recently."

"And what are we to infer from that?"

"Well, since there are no other marks of plates or rings upon the frame, we may safely infer that the photograph was never hung up until it came to these rooms."

"Yes, I suppose we may. But what then? What inference does that lead to?"

Thorndyke reflected for a few moments and I continued:

"It is evident that this photograph suggests more to you than it does to me. I should like to hear your exposition of its bearing on the case, if it has any."

"Whether or no it has any real bearing on the case," Thorndyke answered, "it is impossible for me to say at this stage. I told you that I had proposed to myself one or two hypotheses to account for and explain Jeffrey Blackmore's will, and I may say that the curious misplacement of this photograph fits more than one of them. I won't say more than that, because I think it would be profitable to you to work at this case independently. You have all the facts that I have and you shall have a copy of my notes of Marchmont's statement of the case. With this material you ought to be able to reach some conclusion. Of course neither of us may be able to make anything of the case—it doesn't look very hopeful at present—but whatever happens, we can compare notes after the event and you will be the richer by so much experience of actual investigation. But I will start you off with one hint, which is this: that neither you nor Marchmont seem to appreciate in the least the very extraordinary nature of the facts that he communicated to us."

"I thought Marchmont seemed pretty much alive to the fact that it was a very queer will."

"So he did," agreed Thorndyke. "But that is not quite what I mean. The whole set of circumstances, taken together and in relation to one another, impressed me as most remarkable; and that is why I am giving so much attention to what looks at first sight like such a very unpromising case. Copy out my notes, Jervis, and examine the facts critically. I think you will see what I mean. And now let us proceed."

He replaced the brass plate and having reinserted the screws, hung up the frame, and proceeded to browse slowly round the room, stopping now and again to inspect the Japanese colour-prints and framed photographs of buildings and other objects of archaeological interest that formed the only attempts at wall-decoration. To one of the former he drew my attention.

"These things are of some value," he remarked. "Here is one by Utamaro—that little circle with the mark over it is his signature—and you notice that the paper is becoming spotted in places with mildew. The fact is worth noting in more than one connection."

I accordingly made a mental note and the perambulation continued.

"You observe that Jeffrey used a gas-stove, instead of a coal fire, no doubt to economize work, but perhaps for other reasons. Presumably he cooked by gas, too; let us see."

We wandered into the little cupboard-like kitchen and glanced round. A ring-burner on a shelf, a kettle, a frying-pan and a few pieces of crockery were its sole appointments. Apparently the porter was correct in his statement as to Jeffrey's habits.

Returning to the sitting-room, Thorndyke resumed his inspection, pulling out the table drawers, peering inquisitively into cupboards and bestowing a passing glance on each of the comparatively few objects that the comfortless room contained.

"I have never seen a more characterless apartment," was his final comment. "There is nothing that seems to suggest any kind of habitual activity on the part of the occupant. Let us look at the bedroom."

We passed through into the chamber of tragic memories, and, when Thorndyke had lit the gas, we stood awhile looking about us in silence. It was a bare, comfortless room, dirty, neglected and squalid. The bed appeared not to have been remade since the catastrophe, for an indentation still marked the place where the corpse had lain, and even a slight powdering of ash could still be seen on the shabby counterpane. It looked to me a typical opium-smoker's bedroom.

"Well," Thorndyke remarked at length, "there is character enough here—of a kind. Jeffrey Blackmore would seem to have been a man of few needs. One could hardly imagine a bedroom in which less attention seemed to have been given to the comfort of the occupant."

He looked about him keenly and continued: "The syringe and the rest of the lethal appliances and material have been taken away, I see. Probably the analyst did not return them. But there are the opium-pipe and the jar and the ash-bowl, and I presume those are the clothes that the undertakers removed from the body. Shall we look them over?"

He took up the clothes which lay, roughly folded, on a chair and held them up, garment by garment.

"These are evidently the trousers," he remarked, spreading them out on the bed. "Here is a little white spot on the middle of the thigh which looks like a patch of small crystals from a drop of the solution. Just light the lamp, Jervis, and let us examine it with a lens."

I lit the lamp, and when we had examined the spot minutely and identified it as a mass of minute crystals, Thorndyke asked:

"What do you make of those creases? You see there is one on each leg."

"It looks as if the trousers had been turned up. But if they have been they must have been turned up about seven inches. Poor Jeffrey couldn't have had much regard for appearances, for they would have been right above his socks. But perhaps the creases were made in undressing the body."

"That is possible," said Thorndyke: "though I don't quite see how it would have happened. I notice that his pockets seem to have been emptied—no, wait; here is something in the waistcoat pocket."

He drew out a shabby, pigskin card-case and a stump of lead pencil, at which latter he looked with what seemed to me much more interest than was deserved by so commonplace an object.

"The cards, you observe," said he, "are printed from type, not from a plate. I would note that fact. And tell me what you make of