"No good can come of it," he insisted, but he would not, or could not, explain anything further. He had, however, confirmed what Philip had already guessed. The arms beneath, the strange picture were those of the de Menevals. The motto beneath the escutcheon was the old and terrible one by which the de Menevals had lived; "Do as thou wilt."
But the thing which disturbed Philip most of all was the painting's final detail, which the workmen had uncovered last of all. Upon this point Monsignor Joffroy had persisted in a stubborn silence.
Philip looked at the picture again and certain words of the Abbe's came to his mind. Following behind the dreadful couple and gazing with sardonic expression at the viewer was a terrible cat, three times larger than any ever seen in this mortal life. A great, grey cat, with blazing yellow eyes.
III
In London, Angele and Philip resumed the interrupted round of their life. The events of the previous autumn seemed blurred and far away and their strangeness something of the imagining, rather than reality. Their friends constantly chaffed them about their old grey house and their preferring to live in such a remote place, rather than to enjoy London life and all the privileges of a successful novelist there.
Philip, however, never tired of telling his friends what a fascinating gem he had unearthed and in truth he had a most interesting way of relating his stories so that his listeners were more than half convinced; even the most hidebound and deskbound of their acquaintances. A good dozen or more couples accepted invitations to visit them the following summer, seduced by the lilt of Philip's voice, for his narration of the tale of The Grey House was almost as fascinating as his printed work.
Angele was, perhaps, pleased at his success and now that she was back in her own familiar atmosphere, the events at The Grey House seemed trivial and commonplace. She supposed it was something that could have happened to anybody. And environment could do many things. The Grey House had an undeniable ambiance that spoke of matters best forgotten, but electric light and modern fittings would dispel them.
She should have been the novelist; Philip often teased her and said she was the one with all the imagination. It was true in a way, too; as she thought this she looked over at him in a corner of the lounge, pipe in mouth and a pint tankard in one hand. He looked young and supple at forty-five, not a grey hair in his glossy black head; she was proud of him and the success they had made of life and their marriage.
It was silly to worry so about The Grey House and a ridiculous atmosphere; it was all the same in old houses. Come to that, she had exactly the same sensation in the Paris Conciergerie, with all its terrible associations with the Comite de Salut Public and Marie Antoinette. She dismissed the thoughts from her mind and listened with an interest that was not feigned when Philip read her the latest progress reports from Roget Frey or M. Gasion.
Sometimes, too, the Abbe would write them little notes in his scholarly handwriting, but he never referred to The Grey House, save in the most general way, or the painting. Particularly not the painting. Angele herself had seen it again since her stupid fainting fit on the staircase; she had to admit that in the daylight and with her husband and friends around her, it no longer frightened.
It was a diabolical subject and he was a disgusting old man - the painter had caught a most sinister expression on his face, which left the viewer feeling uneasy - but that was all. Even the cat wasn't the same as the one she had fancied in the orchard; the one in the picture was at least the size of a bloodhound, but the eyes and face were different.
They even laughed at it, she and Philip and Roget; Philip had said it might have had nine lives but even a cat as big as that could hardly have lived for two hundred years into the late twentieth century. No, that no longer worried her. But what did worry her then, if the cause of the worry - the sight of a cat in an orchard; the atmosphere of an old house; the discovery of a painting - had no fear for her?
She was hard put to it to define a reason and eventually forgot all about it as her normal London life went on. Philip's two books were published, one in December, one in early spring and achieved an even greater success than before. They had money in abundance and life seemed to hold great promise.
The progress reports on the house were satisfactory and as late spring advanced, Philip began to tear his thoughts away from his life in England and his mind flew to The Grey House, waiting for him to give it the final touches. A flurry of invitations went out from him and Angele and then the couple found themselves with only two weeks to go before they were off again.
The regular letters told Philip that the roof had been completed; all the domestic arrangements were in the final stages; the panelling of the Great Hall and its picture windows had gone smoothly; the electric lighting was functioning satisfactorily. Roget Frey said that the surprise he and Philip had planned was also going to schedule; he had the work carried out in sections and the structure would be erected whenever Philip chose. The garage and the front terrace too, were nearly complete; the remainder of the work, including the reconstruction of the upper storey would await Philip's supervision in the spring.
The author was more than pleased; indeed, judging by the excellent photographs Roget had sent him, the house seemed even more impressive than he had envisaged when he started out on his elaborate scheme of renovation. The terrace overlooking the water mill also looked superb and he hoped to erect a glass marquee on one side so that they could eat in the open in summer even when it rained.
Much against the Abbe's advice, he had decided to keep the painting as the centrepiece of the Great Hall; from his researches he had considered that it represented the old Vicompte Hector de Meneval, one of the most debauched and sadistic of the line. It was no doubt how the old boy liked to see himself, in an obscene and allegorical situation, representing the black arts.
So he had instructed Frey to have the painting framed in oak and preserved under glass. In deference to Angele, the Abbe and other friends of more tender nerves, he had decided to have a plain sliding panel in the modern Swedish style erected over the work. In that way he could have his cake and eat it, he reflected. And at the press of a button the old rogue would be revealed, to shock his friends on a cold winter's night.
The two weeks drew to an end at last; Philip attended a dinner given in his honour by his publisher, extended the last of his invitations, drank through his last farewell party and in the first week in May - rather later than he had intended - he and Angele with the car set off on the cross-Channel ferry. They stopped at Fontainebleau for the night and next day made an uneventful journey south.
They had decided to camp out in the house temporarily, as the greater part was habitable; from what Roget had said, the bathroom was partly in order, the working parts of the kitchen completely so. They could extemporize and superintend the final arrangements themselves. But even so, both liked comfort and rather than arrive late in the afternoon with inadequate provision for food, they had booked in at their old hotel for two nights before deciding to launch themselves completely on to the facilities of The Grey House.
Their telegrams had preceded them and their old friends M. Gasion, Roget and the Abbe presented themselves punctually for dinner. It was a time of laughter and jokes shared, which Philip always remembered and when the builder Pierre put in an appearance just as they had given him up, the evening seemed complete. Afterwards, they sat out on the balcony, smoking, drinking their cognac and looking over the lights of the quiet city.
All was well at the house, the couple learned; things had gone even better than expected and Pierre and Roget Frey were obviously bubbling with enthusiasm. If they could decently have done so, they would have dragged Philip and Angele into the car that night and over to the house, late as it was.
Roget Frey and Philip chaffed the Abbe over what they called the "boxing in" of the painting, but though he good-humouredly smiled at their sallies, it was obvious that his eyes had a serious and thoughtful look. The party broke up late and Ph
ilip never had a chance to speak to any of his friends alone. The pair rose late the next morning.
It was after midday before Frey, the builder Pierre and M. Gasion arrived at the hotel to escort their friends in triumph to their new home. There had certainly been an extraordinary change in The Grey House. In front of the house was a terrace of pink tiles, the great entrance door sparkled with pale yellow paint and boxes of flowers garlanded the facade, with more flowers hanging in baskets on hooks suspended from the walls.
On the roof, new red tiles caught the sunshine and the straightened turret must have looked as it did in the eighteenth century. On one side, a new garage was nearing completion, needing but a final coat of paint while white balustrades edging the terrace gave the last touch in a notable and inspired piece of restoration.
The ancient and the modern blended in perfect harmony and even Angele could not resist a gasp of pleasure. With congratulations on all sides, architect, builder and agent passed inside the great door to show the couple the wonders of the interior. It was a happy afternoon and Philip was well pleased, not only with his choice of restorers but in his own ability to choose good men.
When the mutual congratulations were over, the party stayed on for a convivial dinner and while the majority remained in the dining room, chatting over coffee and cognac, served by a local domestic, Philip and Roget Frey retired to the Great Hall to discuss the next stages of the work. Even the Abbe, when he put in an appearance around nine o'clock in the evening, had to admit that the house now had great charm and style; if he had any reservations he, at any rate, was wise enough to keep them to himself.
He glanced up at the space over the fireplace when he entered the Great Hall and appeared relieved to see nothing but a smooth wooden panel where the painting was formerly visible. During the next few days Philip and Angele settled down into a more or less stable routine. They had two small portable beds installed in one of the half-completed rooms on the first floor and ate in the kitchen or on the terrace.
This was in order to avoid inconvenience and extra trouble for the workmen, who were now proceeding with the later stages of the work under Pierre and Roget's direction. Philip was already writing and the steady clack of his typewriter could be heard from the terrace several hours each day. Roget was in and out several times a day, the work went well; all in all, it was a busy time for the young couple. Some evenings they would drive into the city for a meal or a drink with their friends and several afternoons a week, Angele would go shopping, either alone or with Philip.
She was busy ordering furniture, domestic utensils, hangings and the many hundreds of individual items which the house would need. Surprisingly, the renovation of The Grey House was not costing as much as they had budgeted for, despite the extensive nature of the work; this was mainly due to Roget's goodness in the matter of fees and to the builder's reasonable rates and friendly attitude.
This meant that Angele had more to spend on furnishings and she wanted to make sure that her side of the decorating measured up to the high standards set by her husband. Angele was not troubled by any more disturbing thoughts and she had grown used to the tinkling of the water mill. The mist was now rising thickly from the area of trees at the bottom of the orchard, due to the extremely hot weather, but she paid no more attention to that either.
About the third week in July, the first of their friends from London arrived to inspect the progress of the house. Doreen and Charles Hendry were a jolly couple and they were delighted with The Grey House as they first saw it from their sports car one afternoon. But for some reason their enthusiasm evaporated after their first raptures. One of the guest rooms was now ready for occupation, though still unpainted. It overlooked, from a higher point, the orchard and the grove of trees at the foot of the terrace and it was this room which Doreen and Charles occupied their first night at The Grey House.
The next morning, at breakfast on the terrace, Angele could not help noticing that Doreen looked drawn and tired. Even Philip sensed this, for he asked, "Sleep well?"
Charles looked embarrassed. He glanced round the breakfast table and said with a short laugh, "Well, as a matter of fact we didn't sleep a wink. There was such a howling of cats all night, that we were awake most of the time. Never heard anything like it. One great brute was in the orchard. I got up to sling some water at it. It had burning yellow eyes - gave me quite a turn."
"Sorry about that," said Philip. "Yes, there are a lot of cats round here, now that you come to mention it, but I can't say they've bothered us to that extent. Have you heard them, dear?" he said, turning to Angele.
His wife had turned quite white. She stammered some casual remark and quickly excused herself. There was nothing else of moment during the Hendrys' short stay. And short it was. They had originally intended to remain for two weeks but after a few days Charles pleaded urgent business which necessitated his return to England. As their sports car headed up the lane and Angele and Philip waved them off, Angele could have sworn there was relief in Doreen's eyes as they drove away from The Grey House.
Imagined or not, there was no doubt that Charles' business was a pretext, for Philip ran into him in one of the main squares of the city a couple of afternoons later, to their mutual embarrassment. On the Friday of the same week Philip made a startling discovery which did something to disturb the peace of his mind, while the effect on Angele was deeply felt. Philip returned from a walk with Roget and asked Pierre, "I say, did you know there was an old graveyard at the end of the lane?"
Pierre shrugged and answered that he believed that was so; but it was a good way from the house, well screened by trees. He could not see that it was of any importance. In face of this indifference Philip had to agree that the affair seemed of little moment. But the way of its discovery had been a shock to him, though he was loath to admit it.
He and Roget had been out surveying the extent of the property; Philip had wanted to have a closer look at the orchard and the water mill building and there was also the question of repair of walls and fences. When they had gone some way towards their boundary, forcing their way through breast-high nettles in places, Philip was surprised to see a large area of rusted iron railings and the white gleam of marble through the trees.
Roget was almost as surprised as he. The two men, impelled by some curiosity, the source of which was obscure, were soon confronted by an elaborate ironwork gate with a rusted metal scroll, whose hieroglyphs seemed familiar; the stone pillars on either side were covered with lichens and moss and the stone ball on one column had long fallen into the grass.
The gate was ajar and after some hesitation, the two men pushed it open and went on into the cemetery. Its extent was quite small but there was a frightful mouldering stench emanating from the ancient tombs with which they were surrounded, and the long, echoing screech the gate made as it went back on its age-old hinges, set the young men's teeth on edge.
There seemed to be about thirty tombs in the cemetery and it was evident that a hundred years or more had passed since the latest occupant was laid to rest. As they gazed round, Roget said with a nervous catch in his breath, "This must be the old de Meneval graveyard. They were brought here from the chateau above. They had to be laid in this place, far from the town, because of the public outcry. I seem to remember in the old histories that the townspeople said they were an accursed strain and there was a great ecclesiastical debate over their being interred in the municipal cemetery. So the Bishop of the province had this private cimetiere set aside for the use of the family."
Philip could not hold back a shiver at these words, reinforced by the melancholy scene around him. He saw now that the dark grove of trees below the orchard had screened the graveyard from view, as no doubt it was meant to do. There was no doubt, however, as to the reasons for the dark mist which rose over the orchard and surrounds at night. The place was unhealthy and Philip would have to seek the advice of the health authorities.
The pair had been traversing the small a
venues which bisected the old graveyard and now found themselves in front of an imposing monument which stood in the most secluded part; overgrown hedges of laurel surrounded it and the lower part of the tomb was effaced by the encroachment of brambles and tangled grasses. Philip noticed with interest that the mausoleum was in the form of a great marble portico, in the style of a Greek temple, which evidently covered a vault of considerable proportions below.
On the face of the portico was repeated the escutcheon which appeared below the painting in the Great Hall of The Grey House; he saw the name of Hector de Meneval and others of his house, the dates of birth and death obliterated with time. But as he looked closer, he saw that he had been mistaken; the dates of birth were clearly given, but the remainder of the legend was left blank after each name - there was not even the customary dash. This was decidedly curious.
Roget had left his side for a moment and was puzzling out a massive Latin inscription which extended along the side of the mausoleum. Roughly translated it ran, "Mighty are they, great joy is theirs; they shall taste of Life Everlasting." Somehow, this inscription left a vaguely unpleasant impression on Philip's mind and he could not help remembering, for the first time, the sly and cunning expression of the old man in the painting.
He was about to retrace his steps towards the gate when there was a sharp exclamation from Roget. He joined his friend and saw, following the line of Roget's somewhat unsteady finger, that one side of the tomb had collapsed, after long years of erosion by wind and rain. The earth had fallen in, carrying with it fragments of marble and through the gaping hole in the side of the mausoleum could be seen part of the interior of the vault.
There were dark steps and even what looked like part of a catafalque some distance below. A faint miasma exuded from this charnel place and seemed to poison the air around the tomb. A little farther off, Philip noted another curious feature. The grass around the hole in the marble seemed crushed and torn, as though something heavy had been dragged along; the trail continued for some distance into the dark and sombre bushes which bordered the cemetery gate.
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