The Blue Cross

by G. K. Chesterton

  “Sir,” said the physician harshly, “you appear to know some secrets in this black business. May I ask if you are going to keep them to yourself?”

  “Why, doctor,” answered the priest, smiling quite pleasantly, “there is one very good reason why a man of my trade should keep things to himself when he is not sure of them, and that is that it is so constantly his duty to keep them to himself when he is sure of them. But if you think I have been discourteously reticent with you or anyone, I will go to the extreme limit of my custom. I will give you two very large hints.”

  “Well, sir?” said the doctor gloomily.

  “First,” said Father Brown quietly, “the thing is quite in your own province. It is a matter of physical science. The blacksmith is mistaken, not perhaps in saying that the blow was divine, but certainly in saying that it came by a miracle. It was no miracle, doctor, except in so far as man is himself a miracle, with his strange and wicked and yet half-heroic heart. The force that smashed that skull was a force well known to scientists—one of the most frequently debated of the laws of nature.”

  The doctor, who was looking at him with frowning intentness, only said: “And the other hint?”

  “The other hint is this,” said the priest. “Do you remember the blacksmith, though he believes in miracles, talking scornfully of the impossible fairy tale that his hammer had wings and flew half a mile across country?”

  “Yes,” said the doctor, “I remember that.”

  “Well,” added Father Brown, with a broad smile, “that fairy tale was the nearest thing to the real truth that has been said today.” And with that he turned his back and stumped up the steps after the curate.

  The Reverend Wilfred, who had been waiting for him, pale and impatient, as if this little delay were the last straw for his nerves, led him immediately to his favourite corner of the church, that part of the gallery closest to the carved roof and lit by the wonderful window with the angel. The little Latin priest explored and admired everything exhaustively, talking cheerfully but in a low voice all the time. When in the course of his investigation he found the side exit and the winding stair down which Wilfred had rushed to find his brother dead, Father Brown ran not down but up, with the agility of a monkey, and his clear voice came from an outer platform above.

  “Come up here, Mr. Bohun,” he called. “The air will do you good.”

  Bohun followed him, and came out on a kind of stone gallery or balcony outside the building, from which one could see the illimitable plain in which their small hill stood, wooded away to the purple horizon and dotted with villages and farms. Clear and square, but quite small beneath them, was the blacksmith’s yard, where the inspector still stood taking notes and the corpse still lay like a smashed fly.

  “Might be the map of the world, mightn’t it?” said Father Brown.

  “Yes,” said Bohun very gravely, and nodded his head.

  Immediately beneath and about them the lines of the Gothic building plunged outwards into the void with a sickening swiftness akin to suicide. There is that element of Titan energy in the architecture of the Middle Ages that, from whatever aspect it be seen, it always seems to be rushing away, like the strong back of some maddened horse. This church was hewn out of ancient and silent stone, bearded with old fungoids and stained with the nests of birds. And yet, when they saw it from below, it sprang like a fountain at the stars; and when they saw it, as now, from above, it poured like a cataract into a voiceless pit. For these two men on the tower were left alone with the most terrible aspect of Gothic; the monstrous foreshortening and disproportion, the dizzy perspectives, the glimpses of great things small and small things great; a topsy-turvydom of stone in the mid-air. Details of stone, enormous by their proximity, were relieved against a pattern of fields and farms, pygmy in their distance. A carved bird or beast at a corner seemed like some vast walking or flying dragon wasting the pastures and villages below. The whole atmosphere was dizzy and dangerous, as if men were upheld in air amid the gyrating wings of colossal genii; and the whole of that old church, as tall and rich as a cathedral, seemed to sit upon the sunlit country like a cloudburst.

  “I think there is something rather dangerous about standing on these high places even to pray,” said Father Brown. “Heights were made to be looked at, not to be looked from.”

  “Do you mean that one may fall over,” asked Wilfred.

  “I mean that one’s soul may fall if one’s body doesn’t,” said the other priest.

  “I scarcely understand you,” remarked Bohun indistinctly.

  “Look at that blacksmith, for instance,” went on Father Brown calmly; “a good man, but not a Christian—hard, imperious, unforgiving. Well, his Scotch religion was made up by men who prayed on hills and high crags, and learnt to look down on the world more than to look up at heaven. Humility is the mother of giants. One sees great things from the valley; only small things from the peak.”

  “But he—he didn’t do it,” said Bohun tremulously.

  “No,” said the other in an odd voice; “we know he didn’t do it.”

  After a moment he resumed, looking tranquilly out over the plain with his pale grey eyes. “I knew a man,” he said, “who began by worshipping with others before the altar, but who grew fond of high and lonely places to pray from, corners or niches in the belfry or the spire. And once in one of those dizzy places, where the whole world seemed to turn under him like a wheel, his brain turned also, and he fancied he was God. So that, though he was a good man, he committed a great crime.”

  Wilfred’s face was turned away, but his bony hands turned blue and white as they tightened on the parapet of stone.

  “He thought it was given to him to judge the world and strike down the sinner. He would never have had such a thought if he had been kneeling with other men upon a floor. But he saw all men walking about like insects. He saw one especially strutting just below him, insolent and evident by a bright green hat—a poisonous insect.”

  Rooks cawed round the corners of the belfry; but there was no other sound till Father Brown went on.

  “This also tempted him, that he had in his hand one of the most awful engines of nature; I mean gravitation, that mad and quickening rush by which all earth’s creatures fly back to her heart when released. See, the inspector is strutting just below us in the smithy. If I were to toss a pebble over this parapet it would be something like a bullet by the time it struck him. If I were to drop a hammer—even a small hammer—”

  Wilfred Bohun threw one leg over the parapet, and Father Brown had him in a minute by the collar.

  “Not by that door,” he said quite gently; “that door leads to hell.”

  Bohun staggered back against the wall, and stared at him with frightful eyes.

  “How do you know all this?” he cried. “Are you a devil?”

  “I am a man,” answered Father Brown gravely; “and therefore have all devils in my heart. Listen to me,” he said after a short pause. “I know what you did—at least, I can guess the great part of it. When you left your brother you were racked with no unrighteous rage, to the extent even that you snatched up a small hammer, half inclined to kill him with his foulness on his mouth. Recoiling, you thrust it under your buttoned coat instead, and rushed into the church. You pray wildly in many places, under the angel window, upon the platform above, and a higher platform still, from which you could see the colonel’s Eastern hat like the back of a green beetle crawling about. Then something snapped in your soul, and you let God’s thunderbolt fall.”

  Wilfred put a weak hand to his head, and asked in a low voice: “How did you know that his hat looked like a green beetle?”

  “Oh, that,” said the other with the shadow of a smile, “that was common sense. But hear me further. I say I know all this; but no one else shall know it. The next step is for you; I shall take no more steps; I will
seal this with the seal of confession. If you ask me why, there are many reasons, and only one that concerns you. I leave things to you because you have not yet gone very far wrong, as assassins go. You did not help to fix the crime on the smith when it was easy; or on his wife, when that was easy. You tried to fix it on the imbecile because you knew that he could not suffer. That was one of the gleams that it is my business to find in assassins. And now come down into the village, and go your own way as free as the wind; for I have said my last word.”

  They went down the winding stairs in utter silence, and came out into the sunlight by the smithy. Wilfred Bohun carefully unlatched the wooden gate of the yard, and going up to the inspector, said: “I wish to give myself up; I have killed my brother.”

  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 clock-tower 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 Reverend J. Brown, attached to St. Francis Xavier’s Church, Camberwell, and he was coming from a Camberwell deathbed 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 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 rapids 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 free-born, 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.