Detection by Gaslight

by Unknown

  One thing, however, was clear: that Ball attired himself in the policeman’s coat and helmet, and, taking his truncheon and lantern, went direct to the mayor’s house, with such results as I have described.

  There were those who believed that Ball simply bribed the constable; but that was never proved. In any case, he got clear away, and that was the last ever seen of him in Banfield.

  G. K. Chesterton

  (1874–1936)

  G. K. CHESTERTON was one of the greatest men of letters of his age—poet, essayist, novelist, editor, and creator of the immortal Father Brown. He was a huge man, wearing a flapping hat, carrying a sword-stick, and of prodigious absent-mindedness; he once telegraphed his wife, “Am in Market Harborough; where ought I to be?” He saw the world as a place of wonder—the signs of God’s creation were to be found everywhere. It was a fairy world, full of paradoxes, each of which ultimately showed the unity of God’s plan.

  Father Brown was perhaps the greatest paradox of all—a humble priest, clumsy and described by his creator as “innocent,” and yet a person who finds solutions to mysteries much more clearly than professional detectives like his friend Flambeau. To Chesterton, the Father Brown stories were essays in theology, and Father Brown sees detection as a moral issue, an attempt to work out salvation—of both the victims and the criminals. Father Brown was based on Chesterton’s friend Father O‘Connor, but having been brought up in the Church of England, Chesterton waited more than ten years before he allowed Father Brown to convert him. In 1922, Father O’Connor received Chesterton into the Catholic church.

  “The Eye of Apollo” is one of the stories in the first Father Brown book, The Innocence of Father Brown (1910).

  The Eye of Apollo

  THAT SINGULAR SMOKY SPARKLE, at once a confusion and a transparency, which is the strange secret of the Thames, was changing more and more from its grey to its glittering extreme as the sun climbed to the zenith over Westminster, and two men crossed Westminster Bridge. One man was very tall and the other very short; they might even have been fantastically compared to the arrogant clocktower of Parliament and the humbler humped shoulders of the Abbey, for the short man was in clerical dress. The official description of the tall man was M. Hercule Flambeau, private detective, and he was going to his new offices in a new pile of flats facing the Abbey entrance. The official description of the short man was the Rev. J. Brown, attached to St. Francis Xavier’s Church, Camberwell, and he was coming from a Camberwell death-bed to see the new offices of his friend.

  The building was American in its sky-scraping altitude, and American also in the oiled elaboration of its machinery of telephones and lifts. But it was barely finished and still understaffed; only three tenants had moved in; the office just above Flambeau was occupied, as also was the office just below him; the two floors above that and the three floors below were entirely bare. But the first glance at the new tower of flats caught something much more arresting. Save for a few relics of scaffolding, the one glaring object was erected outside the office just above Flambeau’s. It was an enormous gilt effigy of the human eye, surrounded with rays of gold, and taking up as much room as two or three of the office windows.

  “What on earth is that?” asked Father Brown, and stood still.

  “Oh, a new religion,” said Flambeau, laughing; “one of those new religions that forgive your sins by saying you never had any. Rather like Christian Science, I should think. The fact is that a fellow calling himself Kalon (I don’t know what his name is, except that it can’t be that) has taken the flat just above me. I have two lady typewriters underneath me, and this enthusiastic old humbug on top. He calls himself the New Priest of Apollo, and he worships the sun.”

  “Let him look out,” said Father Brown. “The sun was the cruellest of all the gods. But what does that monstrous eye mean?”

  “As I understand it, it is a theory of theirs,” answered Flambeau, “that a man can endure anything if his mind is quite steady. Their two great symbols are the sun and the open eye; for they say that if a man were really healthy he could stare at the sun.”

  “If a man were really healthy,” said Father Brown, “he would not bother to stare at it.”

  “Well, that’s all I can tell you about the new religion,” went on Flambeau carelessly. “It claims, of course, that it can cure all physical diseases.”

  “Can it cure the one spiritual disease?” asked Father Brown, with a serious curiosity.

  “And what is the one spiritual disease?” asked Flambeau, smiling.

  “Oh, thinking one is quite well,” said his friend.

  Flambeau was more interested in the quiet little office below him than in the flamboyant temple above. He was a lucid Southerner, incapable of conceiving himself as anything but a Catholic or an atheist; and new religions of a bright and pallid sort were not much in his line. But humanity was always in his line, especially when it was good-looking; moreover, the ladies downstairs were characters in their way. The office was kept by two sisters, both slight and dark, one of them tall and striking. She had a dark, eager and aquiline profile, and was one of those women whom one always thinks of in profile, as of the clean-cut edge of some weapon. She seemed to cleave her way through life. She had eyes of startling brilliancy, but it was the brilliancy of steel rather than of diamonds; and her straight, slim figure was a shade too stiff for its grace. Her younger sister was like her shortened shadow, a little greyer, paler, and more insignificant. They both wore a business-like black, with little masculine cuffs and collars. There are thousands of such curt, strenuous ladies in the offices of London, but the interest of these lay rather in their real than their apparent position.

  For Pauline Stacey, the elder, was actually the heiress of a crest and half a county, as well as great wealth; she had been brought up in castles and gardens, before a frigid fierceness (peculiar to the modern woman) had driven her to what she considered a harsher and a higher existence. She had not, indeed, surrendered her money; in that there would have been a romantic or monkish abandon quite alien to her masterful utilitarianism. She held her wealth, she would say, for use upon practical social objects. Part of it she had put into her business, the nucleus of a model typewriting emporium; part of it was distributed in various leagues and causes for the advancement of such work among women. How far Joan, her sister and partner, shared this slightly prosaic idealism no one could be very sure. But she followed her leader with a dog-like affection which was somehow more attractive, with its touch of tragedy, than the hard, high spirits of the elder. For Pauline Stacey had nothing to say to tragedy; she was understood to deny its existence.

  Her rigid rapidity and cold impatience had amused Flambeau very much on the first occasion of his entering the flats. He had lingered outside the lift in the entrance hall waiting for the lift-boy, who generally conducts strangers to the various floors. But this bright-eyed falcon of a girl had openly refused to endure such official delay. She said sharply that she knew all about the lift, and was not dependent on boys—or on men either. Though her flat was only three floors above, she managed in the few seconds of ascent to give Flambeau a great many of her fundamental views in an off-hand manner; they were to the general effect that she was a modern working woman and loved modern working machinery. Her bright black eyes blazed with abstract anger against those who rebuke mechanic science and ask for the return of romance. Everyone, she said, ought to be able to manage machines, just as she could manage the lift. She seemed almost to resent the fact of Flambeau opening the lift-door for her; and that gentleman went up to his own apartments smiling with somewhat mingled feelings at the memory of such spit-fire self-dependence.

  She certainly had a temper, of a snappy, practical sort; the gestures of her thin, elegant hands were abrupt or even destructive. Once Flambeau entered her office on some typewriting business, and found she had just flung a pair of spectacles belonging to her sister into the middle of the floor and stamped on them. She was already in the rapid
s of an ethical tirade about the “sickly medical notions” and the morbid admission of weakness implied in such an apparatus. She dared her sister to bring such artificial, unhealthy rubbish into the place again. She asked if she was expected to wear wooden legs or false hair or glass eyes; and as she spoke her eyes sparkled like the terrible crystal.

  Flambeau, quite bewildered with this fanaticism, could not refrain from asking Miss Pauline (with direct French logic) why a pair of spectacles was a more morbid sign of weakness than a lift, and why, if science might help us in the one effort, it might not help us in the other.

  “That is so different,” said Pauline Stacey, loftily. “Batteries and motors and all those things are marks of the force of man—yes, Mr. Flambeau, and the force of woman, too! We shall take our turn at these great engines that devour distance and defy time. That is high and splendid—that is really science. But these nasty props and plasters the doctors sell—why, they are just badges of poltroonery. Doctors stick on legs and arms as if we were born cripples and sick slaves. But I was freeborn, Mr. Flambeau! People only think they need these things because they have been trained in fear instead of being trained in power and courage, just as the silly nurses tell children not to stare at the sun, and so they can’t do it without blinking. But why among the stars should there be one star I may not see? The sun is not my master, and I will open my eyes and stare at him whenever I choose.”

  “Your eyes,” said Flambeau, with a foreign bow, “will dazzle the sun.” He took pleasure in complimenting this strange stiff beauty, partly because it threw her a little off her balance. But as he went upstairs to his floor he drew a deep breath and whistled, saying to himself: “So she has got into the hands of that conjurer upstairs with his golden eye.” For, little as he knew or cared about the new religion of Kalon, he had heard of his special notion about sun-gazing.

  He soon discovered that the spiritual bond between the floors above and below him was close and increasing. The man who called himself Kalon was a magnificent creature, worthy, in a physical sense, to be the pontiff of Apollo. He was nearly as tall even as Flambeau, and very much better looking, with a golden beard, strong blue eyes, and a mane flung back like a lion’s. In structure he was the blonde beast of Nietzsche, but all this animal beauty was heightened, brightened and softened by genuine intellect and spirituality. If he looked like one of the great Saxon kings, he looked like one of the kings that were also saints. And this despite the cockney incongruity of his surroundings; the fact that he had an office half-way up a building in Victoria Street; that the clerk (a commonplace youth in cuffs and collars) sat in the outer room, between him and the corridor; that his name was on a brass plate, and the gilt emblem of his creed hung above his street, like the advertisement of an oculist. All this vulgarity could not take away from the man called Kalon the vivid oppression and inspiration that came from his soul and body. When all was said, a man in the presence of this quack did feel in the presence of a great man. Even in the loose jacket-suit of linen that he wore as a workshop dress in his office he was a fascinating and formidable figure; and when robed in the white vestments and crowned with the golden circlet, in which he daily saluted the sun, he really looked so splendid that the laughter of the street people sometimes died suddenly on their lips. For three times in the day the new sun-worshipper went out on his little balcony, in the face of all Westminster, to say some litany to his shining lord: once at daybreak, once at sunset, and once at the shock of noon. And it was while the shock of noon still shook faintly from the towers of Parliament and parish church that Father Brown, the friend of Flambeau, first looked up and saw the white priest of Apollo.

  Flambeau had seen quite enough of these daily salutations of Phoebus, and plunged into the porch of the tall building without even looking for his clerical friend to follow. But Father Brown, whether from a professional interest in ritual or a strong individual interest in tomfoolery, stopped and stared up at the balcony of the sun-worshipper, just as he might have stopped and stared up at a Punch and Judy. Kalon the Prophet was already erect, with argent garments and uplifted hands, and the sound of his strangely penetrating voice could be heard all the way down the busy street uttering his solar litany. He was already in the middle of it; his eyes were fixed upon the flaming disc. It is doubtful if he saw anything or anyone on this earth; it is substantially certain that he did not see a stunted, round-faced priest who, in the crowd below, looked up at him with blinking eyes. That was perhaps the most startling difference between even these two far divided men. Father Brown could not look at anything without blinking; but the priest of Apollo could look on the blaze at noon without a quiver of the eyelid.

  “O sun,” cried the prophet, “O star that art too great to be allowed among the stars! O fountain that flowest quietly in that secret spot that is called space. White father of all white unwearied things, white flames and white flowers and white peaks. Father, who art more innocent than all thy most innocent and quiet children; primal purity, into the peace of which——”

  A rush and crash like the reversed rush of a rocket was cloven with a strident and incessant yelling. Five people rushed into the gate of the mansions as three people rushed out, and for an instant they all deafened each other. The sense of some utterly abrupt horror seemed for a moment to fill half the street with bad news—bad news that was all the worse because no one knew what it was. Two figures remained still after the crash of commotion: the fair priest of Apollo on the balcony above, and the ugly priest of Christ below him.

  At last the tall figure and titanic energy of Flambeau appeared in the doorway of the mansions and dominated the little mob. Talking at the top of his voice like a fog-horn, he told somebody or anybody to go for a surgeon; and as he turned back into the dark and thronged entrance his friend Father Brown slipped in insignificantly after him. Even as he ducked and dived through the crowd he could still hear the magnificent melody and monotony of the solar priest still calling on the happy god who is the friend of fountains and flowers.

  Father Brown found Flambeau and some six other people standing round the enclosed space into which the lift commonly descended. But the lift had not descended. Something else had descended; something that ought to have come by a lift.

  For the last four minutes Flambeau had looked down on it; had seen the brained and bleeding figure of that beautiful woman who denied the existence of tragedy. He had never had the slightest doubt that it was Pauline Stacey; and, though he had sent for a doctor, he had not the slightest doubt that she was dead.

  He could not remember for certain whether he had liked her or disliked her; there was so much both to like and dislike. But she had been a person to him, and the unbearable pathos of details and habit stabbed him with all the small daggers of bereavement. He remembered her pretty face and priggish speeches with a sudden secret vividness which is all the bitterness of death. In an instant like a bolt from the blue, like a thunderbolt from nowhere, that beautiful and defiant body had been dashed down the open well of the lift to death at the bottom. Was it suicide? With so insolent an optimist it seemed impossible. Was it murder? But who was there in those hardly inhabited flats to murder anybody? In a rush of raucous words, which he meant to be strong and suddenly found weak, he asked where was that fellow Kalon. A voice, habitually heavy, quiet and full, assured him that Kalon for the last fifteen minutes had been away up on his balcony worshipping his god. When Flambeau heard the voice, and felt the hand of Father Brown, he turned his swarthy face and said abruptly:

  “Then, if he has been up there all the time, who can have done it?”

  “Perhaps,” said the other, “we might go upstairs and find out. We have half an hour before the police will move.”

  Leaving the body of the slain heiress in charge of the surgeons, Flambeau dashed up the stairs to the typewriting office, found it utterly empty, and then dashed up to his own. Having entered that, he abruptly returned with a new and white face to his friend.

 
“Her sister,” he said, with an unpleasant seriousness, “her sister seems to have gone out for a walk.”

  Father Brown nodded. “Or, she may have gone up to the office of that sun man,” he said. “If I were you I should just verify that, and then let us all talk it over in your office. No,” he added suddenly, as if remembering something, “shall I ever get over that stupidity of mine? Of course, in their office downstairs.”

  Flambeau stared; but he followed the little father downstairs to the empty flat of the Staceys, where that impenetrable pastor took a large red-leather chair in the very entrance, from which he could see the stairs and landings, and waited. He did not wait very long. In about four minutes three figures descended the stairs, alike only in their solemnity. The first was Joan Stacey, the sister of the dead woman—evidently she had been upstairs in the temporary temple of Apollo; the second was the priest of Apollo himself, his litany finished, sweeping down the empty stairs in utter magnificence—something in his white robes, beard and parted hair had the look of Doré’s Christ leaving the Pretorium; the third was Flambeau, black browed and somewhat bewildered.

  Miss Joan Stacey, dark, with a drawn face and hair prematurely touched with grey, walked straight to her own desk and set out her papers with a practical flap. The mere reaction rallied everyone else to sanity. If Miss Joan Stacey was a criminal, she was a cool one. Father Brown regarded her for some time with an odd little smile, and then, without taking his eyes off her, addressed himself to somebody else.

  “Prophet,” he said, presumably addressing Kalon, “I wish you would tell me a lot about your religion.”