by Roald Dahl
And here, Mr Boggis kept telling himself as he peered cautiously through the crack in his fingers, here was the fourth Chippendale Commode! And he had found it! He would be rich! He would also be famous! Each of the other three was known throughout the furniture world by a special name - the Chastleton Commode, the First Rainham Commode, the Second Rainham Commode. This one would go down in history as the Boggis Commode! Just imagine the faces of the boys up there in London when they got a look at it tomorrow morning! And the luscious offers coming in from the big fellows over in the West End - Frank Partridge, Mallett, Jetley, and the rest of them! There would be a picture of it in The Times, and it would say, 'The very fine Chippendale Commode which was recently discovered by Mr Cyril Boggis, a London dealer ...' Dear God, what a stir he was going to make!
This one here, Mr Boggis thought, was almost exactly similar to the Second Rainham Commode. (All three, the Chastleton and the two Rainhams, differed from one another in a number of small ways.) It was a most impressive handsome affair built in the French Rococo style of Chippendale's Director period, a kind of large fat chest-of-drawers set upon four carved and fluted legs that raised it about a foot from the ground. There were six drawers in all, two long ones in the middle and two shorter ones on either side. The serpentine front was magnificently ornamented along the top and sides and bottom, and also vertically between each set of drawers, with intricate carvings of festoons and scrolls and clusters. The brass handles, although partly obscured by white paint, appeared to be superb. It was, of course, a rather 'heavy' piece, but the design had been executed with such elegance and grace that the heaviness was in no way offensive.
'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,' Rummins 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 chest-of-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 smooth 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 crackled 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 shapd long drawers in the middle part and two ditto on each side, with rich chasd Brass Handles and Ornaments, the whole compleatly finished in the most exquisite taste ...PS87
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 busin
ess, 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.'
The three men moved a little closer to peer at the wood. There was a slight stirring of interest among them now. It was always intriguing to hear about some new form of crookery or deception.
'Look closely at the grain. You see that touch of orange in among the dark red-brown. That's the sign of lime.'
They leaned forward, their noses close to the wood, first Rummins, then Claud, then Bert.
'And then there's the patina,' Mr Boggis continued.
'The what?'
He explained to them the meaning of this word as applied to furniture.
'My dear friends, you've no idea the trouble these rascals will go to to imitate the hard beautiful bronze-like appearance of genuine patina. It's terrible, really terrible, and it makes me quite sick to speak of it!' He was spitting each word sharply off the tip of the tongue and making a sour mouth to show his extreme distaste. The men waited, hoping for more secrets.
'The time and trouble that some mortals will go to in order to deceive the innocent!' Mr Boggis cried. 'It's perfectly disgusting! D'you know what they did here, my friends? I can recognize it clearly. I can almost see them doing it, the long, complicated ritual of rubbing the wood with linseed oil, coating it over with French polish that has been cunningly coloured, brushing it down with pumice-stone and oil, beeswaxing it with a wax that contains dirt and dust, and finally giving it the heat treatment to crack the polish so that it looks like two-hundred-year-old varnish! It really upsets me to contemplate such knavery!'
The three men continued to gaze at the little patch of dark wood.
'Feel it!' Mr Boggis ordered. 'Put your fingers on it! There, how does it feel, warm or cold?'
'Feels cold,' Rummins said.
'Exactly, my friend! It happens to be a fact that faked patina is always cold to the touch. Real patina has a curiously warm feel to it.'
This feels normal,' Rummins said, ready to argue.
'No, sir, it's cold. But of course it takes an experienced and sensitive fingertip to pass a positive judgement. You couldn't really be expected to judge this any more than I could be expected to judge the quality of your barley. Everything in life, my dear sir, is experience.'
The men were staring at this queer moon-faced clergyman with the bulging eyes, not quite so suspiciously now because he did seem to know a bit about his subject. But they were still a long way from trusting him.
Mr Boggis bent down and pointed to one of the metal drawer-handles on the commode. 'This is another place where the fakers go to work.' he said. 'Old brass normally has a colour and character all of its own. Did you know that?'
They stared at him, hoping for still more secrets.
'But the trouble is that they've become exceedingly skilled at matching it. In fact it's almost impossible to tell the difference between "genuine old" and "faked old". I don't mind admitting that it has me guessing. So there's not really any point in our scraping the paint off these handles. We wouldn't be any the wiser.'
'How can you possibly make new brass look like old?' Claud said. 'Brass doesn't rust, you know.'
'You are quite right, my friend. But these scoundrels have their own secret methods.'
'Such as what?' Claud asked. Any information of this nature was valuable, in his opinion. One never knew when it might come in handy.
'All they have to do,' Mr Boggis said, 'is to place these handles overnight in a box of mahogany shavings saturated in sal ammoniac. The sal ammoniac turns the metal green, but if you rub off the green, you will find underneath it a fine soft silvery-warm lustre, a lustre identical to that which comes with very old brass. Oh, it is so bestial, the things they do! With iron they have another trick.'
'What do they do with iron?' Claud asked, fascinated.
'Iron's easy,' Mr Boggis said. 'Iron locks and plates and hinges are simply buried in common salt and they come out all rusted and pitted in no time.'
'All right,' Rummins said. 'So you admit you can't tell about the handles. For all you know, they may be hundreds and hundreds of years old. Correct?'
'Ah,' Mr Boggis whispered, fixing Rummins with two big bulging brown eyes. 'That's where you're wrong. Watch this.'
From his jacket pocket, he took out a small screwdriver. At the same time, although none of them saw him do it, he also took out a little brass screw which he kept well hidden in the palm of his hand. Then he selected one of the screws in the commode - there were four to each handle - and began carefully scraping all traces of white paint from its head. When he had done this, he started slowly to unscrew it.
'If this is a genuine old brass screw from the eighteenth century,' he was saying, 'the spiral will be slightly uneven and you'll be able to see quite easily that it has been hand-cut with a file. But if this brasswork is faked from more recent times, Victorian or later, then obviously the screw will be of the same period. It will be a mass-produced, machine-made article. Anyone can recognize a machine-made screw. Well, we shall see.'
It was not difficult, as he put his hands over the old screw and drew it out, for Mr Boggis to substitute the new one hidden in his palm. This was another little trick of his, and through the years it had proved a most rewarding one. The pockets of his clergyman's jacket were always stocked with a quantity of cheap brass screws of various sizes.
'There you are,' he said, handing the modern screw to Rummins. 'Take a look at that. Notice the exact evenness of the spiral? See it? Of course you do. It's just a cheap common little screw that you yourself could buy today in any ironmonger's in the country.'
The screw was handed round from the one to the other, each examining it carefully. Even Rummins was impressed now.
Mr Boggis put the screwdriver back in his pocket together with the fine hand-cut screw that he'd taken from the commode, and then he turned and walked slowly past the three men towards the door.
'My dear friends,' he said, pausing at the entrance to the kitchen, 'it was so good of you to let me peep inside your little home - so kind. I do hope I haven't been a terrible old bore.'
Rummins glanced up from examining the screw. 'You didn't tell us what you were going to offer,' he said.
'Ah,' Mr Boggis said. 'That's quite right. I didn't, did I? Well, to tell you the honest truth, it's all a bit too much trouble. I think I'll leave it.'
'How much would you give?'
'You mean that you really wish to part with it?'
'I didn't say I wished to part with it. I asked you how much.'
Mr Boggis looked across at the commode, and he laid his head first to one side, then to the other, and he frowned, and pushed out his lips, and shrugged his shoulders, and gave a little scornful wave of the hand as
though to say the thing was hardly worth thinking about really, was it?
'Shall we say ... ten pounds. I think that would be fair.'
'Ten pounds!' Rummins cried. 'Don't be so ridiculous, Parson, please!'
'It's worth more'n that for firewood!' Claud said, disgusted.
'Look here at the bill!' Rummins went on, stabbing that precious document so fiercely with his dirty forefinger that Mr Boggis became alarmed. 'It tells you exactly what it cost! Eighty-seven pounds! And that's when it was new. Now it's antique it's worth double!'
'If you'll pardon me, no, sir, it's not. It's a second-hand reproduction. But I'll tell you what, my friend - I'm being rather reckless, I can't help it - I'll go up as high as fifteen pounds. How's that?'
'Make it fifty,' Rummins said.
A delicious little quiver like needles ran all the way down the back of Mr Boggis's legs and then under the soles of his feet. He had it now. It was his. No question about that. But the habit of buying cheap, as cheap as it was humanly possible to buy, acquired by years of necessity and practice, was too strong in him now to permit him to give in so easily.
'My dear man.' he whispered softly, 'I only want the legs. Possibly I could find some use for the drawers later on, but the rest of it, the carcass itself, as your friend so rightly said, it's firewood, that's all.'
'Make it thirty-five,' Rummins said.
'I couldn't, sir, I couldn't! It's not worth it. And I simply mustn't allow myself to haggle like this about a price. It's all wrong. I'll make you one final offer, and then I must go. Twenty pounds.'
'I'll take it,' Rummins snapped. 'It's yours.'
'Oh dear,' Mr Boggis said, clasping his hands. 'There I go again. I should never have started this in the first place.'
'You can't back out now, Parson. A deal's a deal.'
'Yes, yes, I know.'
'How're you going to take it?'
'Well, let me see. Perhaps if I were to drive my car up into the yard, you gentlemen would be kind enough to help me load it?'
'In a car? This thing'll never go in a car! You'll need a truck for this!'
'I don't think so. Anyway, we'll see. My car's on the road. I'll be back in a jiffy. We'll manage it somehow, I'm sure.'
