A Double Knot

by George Manville Fenn

The paint of the front door was the worst part about that house, for the sun had raised it in little blisters, which street boys could not bear to see without cracking and picking off in flakes; and the consequence was that the door looked as if it had had a bad attack of some skin disease, and a new cuticle of a paler hue was growing beneath the old.

Wimpole Street was then famous for the knockers upon its doors. They were large and resounding. In fact, a clever manipulator could raise a noise that would go rolling on a still night from nearly one end of the street to the other. For, in their wisdom, our ancestors seized the idea of a knocker on that sounding-board, a front door, as a means to warn servants downstairs that someone was waiting, by a deafening noise that appealed to those in quite a different part of the place. But this was not allowed at the house with the blistered front door, for a great staple had been placed over one side for years, and when you had passed the two great iron extinguishers that were never used for links, and under the fantastic ironwork that had never held a lamp since the street had been lit with gas, and, ascending three steps, stood at the door, you could only contrive quite a diminutive kind of knock, such as was given upon that occasion by Renée, for Gertrude was carrying a large bouquet of flowers.

The knock was hard enough to bring a little bleached, sparrow-like man, dressed in black, to the door, and his colourless face, made more pallid by a little black silk cap he wore, brightened as he held his head first on one side, then on the other, his triangular nose adding to his sparrow-like appearance, and giving a stranger the idea that he would never kiss anyone, but would peck.

“How is my uncle this morning, Vidler?” said Gertrude.

“Capital, miss,” said the little man, holding wide the door for the ladies to enter, and closing it quickly, lest, apparently, too much light should enter at the same time.

For the place was very gloomy and subdued within. The great leather porter’s chair, the umbrella-stand, and the pictures all looked sombre and black. Even the two classical figures holding lamps, that had not been lighted for a quarter of a century at least, were swarthy, and a stranger would have gone stumbling and feeling his way along; but not so Vidler, Captain Robert Millet’s handy servant. He was as much at home in the gloom as an owl, and in a quick, hurried way that was almost spasmodic he led the visitors upstairs, but only to stop on the first landing.

“If I might make so bold, Miss Gertrude,” he said, holding his head on one side. “I don’t often see a flower now.”

The girl held up the bouquet, and the little man had a long sniff with a noise as if taking a pinch of snuff, said, “Thank you, miss,” and went on up to the back drawing-room door, which was a little lighter than the staircase, for the top of the shutters of one of the three tall narrow windows was open.

A glance round the room showed that it was scrupulously clean. Time had blackened the paint and ceiling, but everything that could be cleaned or polished was in the highest state of perfection.

For Valentine Vidler and his wife Salome, being very religious and conscientious people, told themselves and one another nearly every day that as the master never supervised anything it was the more their duty to keep the place in the best of order. For instance, Vidler would say: