“Nothing, except that it is extraordinarily ugly and doesn’t speak well for cinque-cento,” I replied, after the requisite examination.
“Another proof that das Sehen muss gelernt sein! Here, I will enlighten you.—You behold this metal work which a moment since we disposed of as copper; learn that it is bronze; and not cast bronze, either, but wrought bronze, bronze shaped with hammer and chisel. Look closely at it; note the forms into which it has been modeled. See these roses, these lilies, these lotus leaves; see how exquisitely they are fashioned; see how they are massed together into a harmonious ensemble. Now hold it close to your eyes: see—do you see?—this serpent twined among the flowers! The artist must have worked from life—the very texture of the skin is reproduced—it makes one shudder.”
“Yes,” I said, “I admit it is a fine piece of work.”
“But we have not yet exhausted the list of its virtues by any means. Now open it and look at the interior.”
“I see nothing remarkable about the interior,” I replied, “nothing but bare wood.”
“That is all you see; but watch.”
He applied the point of a pencil to one of the series of nail-heads with which the top of the lid was studded. It appeared to sink a hair’s-breadth into the wood. Thereat the lower surface of the lid dropped down, disclosing a hollow space between it and the upper.—“A double cover,” he said, “a place for hiding things and—hello! it isn’t empty!”
No, it wasn’t empty. It contained a large, square envelope. Merivale hastily made a grab for it, and crossed over to the gas-fixture. “Have we stumbled upon a romance?” he cried. Holding it up to the light, presently he said: “Come hither, Lexow. The writing is German script. I can’t read it. Come and help.”
He put the envelope into my hands. I ran my eyes over the writing. Next moment the envelope fluttered to the floor. I grasped Merivale’s arm to support myself. My breath became short and quick. “I was not prepared for this,” I gasped.
“For what? What is the trouble?” he asked.