The room, as Crawford readily noticed, was almost as remarkable in appearance as the old woman herself. There was nothing singular in the bare floor, the pine table and two or three broken chairs; for something very like them, or worse, can be found in almost every miserable tenement where virtue struggles or vice swelters, in the slums of the great city. Neither was there anything notable in the smoke-greased walls and ceiling, the miserable fire-place with one cracked kettle and a red earthen bowl, and the wretched bed of rags stuck away in one of the corners, on which evidently both the old crone and Master Jeffy made their sad pretence at sleep.
But what really was singular in the appearance of the apartment, and what Crawford noted at once, although he did not allude to it until afterwards, was—first, a ghastly attempt at painting, hanging behind the chimney, representing a death's-head and cross-bones, which might have been executed by an artist in whitewash, on a ground of black muslin. Second, a hanging shelf in one corner, with a dozen or two of dingy small bottles and vials, and a rod lying across it, apparently made from a black birchen switch, peeled in sections. Third, and most important of all, a string of twine suspended from one side of the room to the other, in front of the fire-place and near the ceiling, and hung with objects that required a moment to recognize. Among them, when closely examined, could be found two or three bats, dried; a string of snake's eggs, blackened by being smoked; a tail and two legs of a black cat; a bunch of the dried leaves of the black hellebore; a snake's skin—not the "shedder" or superficial skin, but the cuticle itself, peeled from the writhing reptile; two objects that might have been spotted toads, run over by wagons until thoroughly flattened—then dried; and one object which could not well be anything more or less than the hand of a child a few weeks old, cut off just above the wrist and subjected to some kind of embalming or drying process.
The purposes of this narrative do not require the recording of all the conversation which took place between the Tombs lawyer and Aunt Synchy, when the latter had dusted off one of the miserable chairs and forced the former down into it, taking another herself, sitting square in front of him, and thrusting her face so close into his that the withered features seemed almost plastered against his own. It is enough to say that that conversation corroborated the suspicion which the first words of the crone would have engendered—that Aunt Synchy, in her younger days, had been a slave in the Crawford family, in a neighboring State where the institution had not yet been entirely abolished—and that, at last manumitted by a mistaken kindness, she had finally wandered away to the crime and misery of negro life in the great city. She retained, as people of that feudal class always do, a vivid recollection of her early life and of all the residents of the section where she had lived; and Egbert Crawford, who was in the habit of putting many questions to others, was not in the habit of answering quite so many as the old woman put to him concerning the intermediate histories of the families of which she had now lost sight for more than a quarter of a century.
In this conversation it became apparent, too, that Thomas Crawford, the father of Egbert, had been the quasi owner of Synchy, and that she retained for the son something of that singular attachment which appears to be inseparable from any description of feudality. Thomas Crawford, it would appear, had had two brothers, Richard, the father of the present Richard Crawford and of John, the soldier, both Thomas and Richard being then dead and their families in the country broken up. Another brother, John, had become very wealthy, and appeared to be living, with Mary, an only daughter, at West Falls, in the Oneida Valley. Finally, it became quite apparent that the old crone, whatever her attachment to the family of Thomas Crawford, did not hold the same feudal regard for some of the other members of the family—in short, that she had retained the memory of certain supposed early slights and injuries, quite as closely as she had done the softer and more grateful sentiments towards others.
"So Dick am rich, am he, honey? an you am poor? Tut! tut! dat is too bad for de son of ole Marser Tom!" said the old crone, after the lapse of half an hour in which both tongues had been running pretty rapidly.
"He is," said Crawford, his face expressing no strong sense of satisfaction at the recollection. "He bought property in the new parts of the city, twelve or fifteen years ago, and the rise has been so great that it has made him rich. He is now living on Murray Hill, in style, though, d—n him!" and the face now was very sinister indeed, "he has been attacked with inflammatory rheumatism and confined for some weeks to his house, so that I don't think he enjoys it all very much."
"An Uncle John's big property," the old woman went on—"Dick is to have all dat, too, you tink?"
"Yes, and Mary," answered Crawford. "Mary is a pretty little girl, and worth as much as all the property. Dick has managed to get around the old man, somehow, and if I can't stop it—"
"Eh, yes, if you can't stop 'um!" said the old crone, rubbing her skinny hands together as if this, at least, pleased her. "Has you tried, honey?"
Egbert Crawford, Tombs lawyer, as has before been said, was much more in the habit of putting others under close cross-examination, than allowing himself to be subjected to the same sifting process. But whether he had his own motives for telling the old woman the truth, or whether he saw that those coal black old eyes were looking through him and divining all that he wished or intended—he certainly submitted to the question and told the truth, in the present instance: