Fergus Hume
The Mikado Jewel
Published by Good Press, 2019
EAN 4064066215262
Table of Contents
CHAPTER I
A MYSTERIOUS MISSION
From the main thoroughfare of Bayswater, where the shops display their goods and the tides of life run strongly, Crook Street extends its long line of ugly dwellings to a considerable distance. Its shape suggests a shepherd's crook,--hence undoubtedly the name--as it finally terminates in a curved cul de sac, the end of which is blocked by Number One hundred and eleven. This is an imposing, if somewhat dilapidated mansion, standing in its own limited grounds, which are surrounded by a high crumbling wall of brick, more or less overgrown with grimy ivy. There is a small front garden, planted with stunted shrubs; a narrow passage on either side of the house, screened midway by green-painted trellis-work, and--at the back--a worn-out lawn, dominated by a funereal cedar. Beneath this, through rain and sunshine, is a rustic table and a rustic seat, where the boarders have afternoon tea in summertime. Everywhere there is a feeling of dampness.
The mansion is of Georgian architecture, square and heavy, greatly in need of a coat of paint, which it has not received for years. With its discoloured surface, once white, its cheap stucco scaling off in leprous patches, its trails of moss and soot, never to be washed off by any rain, however violent, it looks a tumbledown, ruinous sort of dwelling. Or, as an imaginative boarder once suggested, it is like a derelict hulk, stranded in a stagnant backwater of Life's mighty River. It is certainly doleful, and infinitely dreary, only securing inhabitants by reason of the unusually cheap board and lodging to be obtained under its weather-worn roof.
Mrs. Sellars, who rented this sad suburban dwelling, euphoniously called it "The Home of Art," and in a seductive advertisement invited any male or female connected with music, literature, painting, poetry, and more particularly with the drama, to enjoy the refinements of an æsthetic abode at the moderate cost of twenty shillings a week, inclusive. As the house was shabbily comfortable, and its mistress was a retired actress of cheery manners, still indirectly connected with the stage, the bedrooms of The Home of Art were generally occupied by youths and maidens, ambitious of renown. There were very few really old people, as Mrs. Sellars--although elderly herself--did not care for the aged, who had no future, but loved to gather the young and aspiring round her hospitable table. And that same table truly deserved the kindly term, for the slatternly, good-natured woman supplied far better food in far larger quantities than the rate of payment allowed. Indeed, it is questionable if Mrs. Sellars made any profit whatsoever, as nearly all the boarders were juvenile and hungry. But what they paid, together with the landlady's small private income, kept things going in a happy-go-lucky fashion, which was all that was necessary. The children--as Mrs. Sellars called her boarders--adored "Ma," as the boarders called Mrs. Sellars, and with good reason, for she gave one and all largely what money could not buy. She advised, she sympathized, she nursed, she scolded, and to her the children came with their troubles, great and small, for aid and consolation. It was no wonder that with such a blessed helper of humanity, the ruinous old suburban boarding-house was usually filled to its greatest capacity.
But full as The Home of Art was last November, on one night of that foggy month it was empty from seven o'clock until midnight of all the boarders. A third-floor lodger--the lean youth with bright and bird-like eyes--had not only written a play, which Ma pronounced magnificent, but the same was to be produced on this very evening at a suburban theatre. Of course, this was a red-letter day--or, rather, night--at The Home of Art, and equally of course, Mrs. Sellars led forth her children to occupy boxes and stalls and pit and dress-circle on the great occasion. By her advice the friends of the playwright were thus fairly distributed throughout the house so that they might applaud vehemently at the right moment and stir up the public to enthusiasm. Even the cook and the parlour-maid, the housemaid and a decayed butler, who had fallen, through drink, from Mayfair to Bayswater, put on their best clothes and departed for the night's entertainment. Already the supper--and a very good supper, too--was laid out in the shabby dining-room, and would be eaten at midnight by the boarders, when they returned with Ma and the successful playwright. And assuredly he would be successful--no one had any doubt on that point, for Mrs. Sellars had long since infected all her lodgers with her constant optimism. With Ma as the head of the house, the atmosphere could scarcely fail to be cheerful. Even debts, duns, difficulties, disappointments and suspense could not, and never did, damp the hopeful spirits of the little community. And Ma, with her unfailing good humour and helpful nature, was responsible for this happy state of affairs.
When the occupants of The Home of Art departed for the Curtain Theatre, two people remaining behind had the entire house to themselves. One was Mrs. Pentreddle, who had sprained her ankle on the previous day, and could not leave the sofa on which she lay in the drawing-room with any degree of comfort, and the other was Patricia Carrol, the out-of-work Irish governess, who had arranged to stop and look after the old lady. And Mrs. Pentreddle was really old, being not far short of sixty. She was the landlady's sister, who had come up from Devonshire on a visit six days before the exodus to the theatre: a tall, gaunt, grim woman, wholly unlike Mrs. Sellars in looks and disposition. No one would have believed the two women to be sisters had not the relationship been vouched for by Ma herself. "Martha never was like me," said Mrs. Sellars, when her boarders commented on the dissimilarity, "always as heavy as I was light. Comedy and Tragedy, our Pa called us in the old days. Not that Martha ever had any turn for the stage. It was only Pa's way of talking. Martha's a killjoy, poor dear, as her late husband was drowned at sea and her only child's a sailor also, who likewise may find his grave in the vast and wandering deep. She's housekeeper to Squire Colpster, of Beckleigh, in Devonshire, and knows more about managing servants than I've ever forgotten." And, as usual, she finished with her jolly laugh.
Mrs. Pentreddle certainly was no favourite with the boarders, as her lean and anxious, wrinkled and pallid face, her hard black eyes and melancholy dark garments impressed them unpleasantly. She spoke very little, but constantly maintained a watchful attitude, as though she was expecting something to happen or someone to tap her on her shoulder. As a rule she kept to Mrs. Sellars' private sitting-room, which pleased everyone, as the dour woman was such a wet blanket. But on the night of the play she insisted upon being carried down to the drawing-room in spite of the sprained ankle, which should have kept her in bed. Mrs. Sellars remonstrated, but the sister from Devonshire had her own way, saying that the first floor was preferable to the second, as it was less dismal and more comfortable. "One would think that Martha expected something to happen," said cheerful Mrs. Sellars, when she set out for the theatre with her train, "and was afraid to be too far away from the nearest policeman!" This remark was afterwards remembered when something did happen, as emblematic of Ma's prophetic powers.
The drawing-room was a large apartment with a fire-place at one end and a door leading from the hall at the other. One side was taken up by the windows, heavily curtained, and the other by large folding doors, usually closed, which gave admission to the dining-room. Outside, a narrow iron-railed balcony ran in front of the three windows from the entrance door to the corner of the house, and below this was the