"Yes," I answered, "I remember your telling me of this;" and indeed my memory had in times past so often rehearsed Mr. Gaskell's description that, although I had not recently thought of it, its chief features immediately returned to my mind.
"He described it," my brother continued, "as a long hall with an arcade of arches running down one side, of the fantastic Gothic of the Renaissance. At the end was a gallery or balcony for the musicians, which on its front carried a coat of arms."
I remembered this perfectly and told John so, adding that the shield bore a cherub's head fanning three lilies on a golden field.
"It is strange," John went on, "that the description of a scene which our friend thought a mere effort of his own imagination has impressed itself so deeply on both our minds. But the picture which he drew was more than a fancy, for we are at this minute in the very hall of his dream."
I could not gather what my brother meant, and thought his reason was failing him; but he continued, "This miserable floor on which we stand has of course been afterwards built in; but you see above you the old ceiling, and here at the end was the musicians' gallery with the shield upon its front."
He pointed to the carved and whitewashed dado which had hitherto so puzzled me. I stepped up to it, and although the lath-and-plaster partition wall was now built around it, it was clear that its curved outline might very easily, as John said, have formed part of the front of a coved gallery. I looked closer at the relief-work which had adorned it. Though the edges were all rubbed off, and the mouldings in some cases entirely removed, I could trace without difficulty a shield in the midst; and a more narrow inspection revealed underneath the whitewash, which had partly peeled away, enough remnants of colour to show that it had certainly been once painted gold and borne a cherub's head with three lilies.
"That is the shield of the old Neapolitan house of Doma-Cavalli," my brother continued; "they bore a cherub's head fanning three lilies on a shield or. It was in the balcony behind this shield, long since blocked up as you see, that the musicians sat on that ball night of which Gaskell dreamt. From it they looked down on the hall below where dancing was going forward, and I will now take you downstairs that you may see if the description tallies."
So saying, he raised himself, and descending the stairs with much less difficulty than he had shown in mounting them, flung open the door which I had seen in the passage and ushered us into the shop on the ground-floor. The evening light had now faded so much that we could scarcely see even in the passage, and the shop having its windows barricaded with shutters, was in complete darkness. Raffaelle, however, struck a match and lit three half-burnt candles in a tarnished sconce upon the wall.
The shop had evidently been lately in the occupation of a wine-seller, and there were still several empty wooden wine-butts, and some broken flasks on shelves. In one corner I noticed that the earth which formed the floor had been turned up with spades. There was a small heap of mould, and a large flat stone was thus exposed below the surface. This stone had an iron ring attached to it, and seemed to cover the aperture of a well, or perhaps a vault. At the back of the shop, and furthest from the street, were two lofty arches separated by a column in the middle, from which the outside casing had been stripped.
To these arches John pointed and said, "That is a part of the arcade which once ran down the whole length of the hall. Only these two arches are now left, and the fine marbles which doubtless coated the outside of this dividing pillar have been stripped off. On a summer's night about one hundred years ago dancing was going on in this hall. There were a dozen couples dancing a wild step such as is never seen now. The tune that the musicians were playing in the gallery above was taken from the 'Areopagita' suite of Graziani. Gaskell has often told me that when he played it the music brought with it to his mind a sense of some impending catastrophe, which culminated at the end of the first movement of the Gagliarda. It was just at that moment, Sophy, that an Englishman who was dancing here was stabbed in the back and foully murdered."
I had scarcely heard all that John had said, and had certainly not been able to take in its import; but without waiting to hear if I should say anything, he moved across to the uncovered stone with the ring in it. Exerting a strength which I should have believed entirely impossible in his weak condition, he applied to the stone a lever which lay ready at hand. Raffaelle at the same time seized the ring, and so they were able between them to move the covering to one side sufficiently to allow access to a small staircase which thus appeared to view. The stair was a winding one, and once led no doubt to some vaults below the ground-floor. Raffaelle descended first, taking in his hand the sconce of three candles, which he held above his head so as to fling a light down the steps. John went next, and then I followed, trying to support my brother if possible with my hand. The stairs were very dry, and on the walls there was none of the damp or mould which fancy usually associates with a subterraneous vault. I do not know what it was I expected to see, but I had an uneasy feeling that I was on the brink of some evil and distressing discovery. After we had descended about twenty steps we could see the entry to some vault or underground room, and it was just at the foot of the stairs that I saw something lying, as the light from the candles fell on it from above. At first I thought it was a heap of dust or refuse, but on looking closer it seemed rather a bundle of rags. As my eyes penetrated the gloom, I saw there was about it some tattered cloth of a faded green tint, and almost at the same minute I seemed to trace under the clothes the lines or dimensions of a human figure. For a moment I imagined it was some poor man lying face downwards and bent up against the wall. The idea of a man or of a dead body being there shocked me violently, and I cried to my brother, "Tell me, what is it?" At that instant the light from. Raffaelle's candles fell in a somewhat different direction. It lighted up the white bowl of a human skull, and I saw that what I had taken for a man's form was instead that of a clothed skeleton. I turned faint and sick for an instant, and should have fallen had it not been for John, who put his arm about me and sustained me with an unexpected strength.
"God help us!" I exclaimed, "let us go. I cannot bear this; there are foul vapours here; let us get back to the outer air."
He took me by the arm, and pointing at the huddled heap, said, "Do you know whose bones those are? That is Adrian Temple. After it was all over, they flung his body down the steps, dressed in the clothes he wore."
At that name, uttered in so ill-omened a place, I felt a fresh access of terror. It seemed as though the soul of that wicked man must be still hovering over his unburied remains, and boding evil to us all. A chill crept over me, the light, the walls, my brother, and Raffaelle all swam round, and I sank swooning on the stairs.
When I returned fully to my senses we were in the landau again making our way back to the Villa de Angelis.
CHAPTER XV
The next morning my health and strength were entirely restored to me, but my brother, on the contrary, seemed weak and exhausted from his efforts of the previous night. Our return journey to the Villa de Angelis had passed in complete silence. I had been too much perturbed to question him on the many points relating to the strange events as to which I was still completely in the dark, and he on his side had shown no desire to afford me any further information. When I saw him the next morning he exhibited signs of great weakness, and in response to an effort on my part to obtain some explanation of the discovery of Adrian Temple's body, avoided an immediate reply, promising to tell me all he knew after our return to Worth Maltravers.