"How're you feeling now?" Mr Boggis heard someone saying.
"Thank you, thank you, I'm much better already. It passes quickly. My doctor says it's nothing to worry about really so long as I rest for a few minutes whenever it happens. Ah yes," he said, raising himself slowly to his feet. "That's better. I'm all right now."
A trifle unsteadily, he began to move around the room examining the furniture, one piece at a time, commenting upon it briefly. He could see at once that apart from the commode it was a very poor lot.
"Nice oak table," he said. "But I'm afraid it's not old enough to be of any interest. Good comfortable chairs, but quite modern, yes, quite modern. Now this cupboard, well, it's rather attractive, but again, not valuable. This chest-of-drawers"-he walked casually past the Chippendale Commode and gave it a little contemptuous flip with his fingers-"worth a few pounds, I dare say, but no more. A rather crude reproduction, I'm afraid. Probably made in Victorian times. Did you paint it white?"
"Yes," Runimins said, "Bert did it."
"A very wise move. It's considerably less offensive in white."
"That's a strong piece of furniture," Rummins said. "Some nice carving on it too."
"Machine-carved," Mr Boggis answered superbly, bending down to examine the exquisite craftsmanship. "You can tell it a mile off. But still, I suppose it's quite pretty in its way. It has its points."
He began to saunter off, then he checked himself and turned slowly back again. He placed the tip of one finger against the point of his chin, laid his head over to one side, and frowned as though deep in thought.
"You know what?" he said, looking at the commode, speaking so casually that his voice kept trailing off. "I've just remembered…I've been wanting a set of legs something like that for a long time. I've got a rather curious table in my own little home, one of those low things that people put in front of the sofa, sort of a coffee-table, and last Michaelmas, when I moved house, the foolish movers damaged the legs in the most shocking way. I'm very fond of that table. I always keep my big Bible on it, and all my sermon notes."
He paused, stroking his chin with the finger. "Now I was just thinking. These legs on your chestof-drawers might be very suitable. Yes, they might indeed. They could easily be cut off and fixed on to my table."
He looked around and saw the three men standing absolutely still, watching him suspiciously, three pairs of eyes, all different but equally mistrusting, small pig-eyes for Rummins, large slow eyes for Claud, and two odd eyes for Bert, one of them very queer and boiled and misty pale, with a little black dot in the centre, like a fish eye on a plate.
Mr Boggis smiled and shook his head. "Come, come, what on earth am I saying? I'm talking as though I owned the piece myself. I do apologize."
"What you mean to say is you'd like to buy it," Rummins said.
"Well… " Mr Boggis glanced back at the commode, frowning. "I'm not sure. I might and then again…on second thoughts no…I think it might be a bit too much trouble. It's not worth it. I'd better leave it."
"How much were you thinking of offering?" Rummins asked.
"Not much, I'm afraid. You see, this is not a genuine antique. It's merely a reproduction."
"I'm not so sure about that," Rummins told him. "It's been in here over twenty years, and before that it was up at the Manor House. I bought it there myself at auction when the old Squire died. You can't tell me that thing's new.,, "It's not exactly new, but it's certainly not more than about sixty years old."
"It's more than that," Rummins said. "Bert, where's that bit of paper you once found at the back of one of them drawers? That old bill."
The boy looked vacantly at his father.
Mr Boggis opened his mouth, then quickly shut it again without uttering a sound. He was beginning literally to shake with excitement, and to calm himself he walked over to the window and stared out at a plump brown hen pecking around for stray grains of corn in the yard.
"It was in the back of that drawer underneath all them rabbit-snares," Rummins was saying. "Go on and fetch it out and show it to the parson."
When Bert went forward to the commode, Mr Boggis turned round again. He couldn't stand not watching him. He saw him pull out one of the big middle drawers, and he noticed the beautiful way in which the drawer slid open. He saw Bert's hand dipping inside and rummaging around among a lot of wires and strings.
"You mean this?" Bert lifted out a piece of folded yellowing paper and carried it over to the father, who unfolded it and held it up close to his face.
"You can't tell me this writing ain't bloody old," Rummins said, and he held the paper out to Mr Boggis, whose whole arm was shaking as he took it. It was brittle and it cracked slightly between his fingers. The writing was in a long sloping copperplate hand: Edward Montagu, Esq. Dr To Thos. Chippendale A large mahogany Commode Table of exceeding fine wood, very rich carvd, set upon fluted legs, two very neat shaped long drawers in the middle part and two ditto on each side, with rich chasd Brass Handles and Ornaments, the whole completely finished in the most exquisite taste £87 Mr Boggis was holding on to himself tight and fighting to suppress the excitement that was spinning round inside him and making him dizzy. Oh God, it was wonderful! With the invoice, the value had climbed even higher. What in heaven's name would it fetch now? Twelve thousand pounds? Fourteen? Maybe fifteen or even twenty? Who knows?
Oh, boy!
He tossed the paper contemptuously on to the table and said quietly, "It's exactly what I told you, a Victorian reproduction. This is simply the invoice that the seller the man who made it and passed it off as an antique-gave to his client. I've seen lots of them. You'll notice that he doesn't say he made it himself. That would give the game away."
"Say what you like," Rummins announced, "but that's an old piece of paper."
"Of course it is, my dear friend. It's Victorian, late Victorian. About eighteen ninety. Sixty or seventy years old. I've seen hundreds of them. That was a time when masses of cabinet-makers did nothing else but apply themselves to faking the fine furniture of the century before."
"Listen, Parson," Rummins said, pointing at him with a thick dirty finger, "I'm not saying as how you may not know a fair bit about this furniture business, but what I am saying is this: How on earth can you be so mighty sure it's a fake when you haven't even seen what it looks like underneath all that paint?"
"Come here," Mr Boggis said. "Come over here and I'll show you." He stood beside the commode and waited for them to gather round. "Now, anyone got a knife?"
Claud produced a horn-handled pocket knife, and Mr Boggis took it and opened the smallest blade. Then, working with apparent casualness but actually with extreme care, he began chipping off the white paint from a small area on the top of the commode. The paint flaked away cleanly from the old hard varnish underneath, and when he had cleared away about three square inches, he stepped back and said, "Now, take a look at that!"
It was beautiful-a warm little patch of mahogany, glowing like a topaz, rich and dark with the true colour of its two hundred years.
"What's wrong with it?" Rummins asked.
"It's processed! Anyone can see that!"
"How can you see it, Mister? You tell us."
"Well, I must say that's a trifle difficult to explain. It's chiefly a matter of experience. My experience tells me that without the slightest doubt this wood has been processed with lime. That's what they use for mahogany, to give it that dark aged colour. For oak, they use potash salts, and for walnut it's nitric acid, but for mahogany it's always lime."