A Ring of Rubies

by L. T. Meade

I knew well that my search must be confined to the octagon room.

To reach this room I had to go up-stairs to the first landing of the house. I had then to turn to the left, and to descend some four or five steps; a narrow passage here led me to a spiral staircase which communicated directly with the Chamber of Myths.

This quaint and beautiful room was evidently an afterthought. It was built when the rest of the house was completed. It stood alone, and I found afterwards that it was supported from the ground by massive pillars. No pains and no money had been spared upon it. The middle of London, or at least the middle of Bloomsbury, could scarcely contain a lovely view. Geoffrey Rutherford had clearly apprehended this fact when he built the octagon chamber: he did the next best thing he could for it; he supplied it with painted glass, of modern workmanship it is true, but exquisite in colour and artistic in design. The eight windows which the room contained were narrow, high, and pointed; they were filled in with glass copied from the designs of masters. Geoffrey must have travelled over a great part of Europe to supply himself with these designs. He must have gone with an artist as his companion, for in no other way could these perfectly painted glass pictures from old Flemish Cathedrals and old Roman Council Chambers have been so exquisitely and perfectly reproduced.

“I wonder if he copied the designs himself,” I thought. “I remember that my mother told me what an accomplished artist Cousin Geoffrey was. Oh, what lovely glass! I could sit here and study. I will sit here and study. If I cannot acquire art in any other way, I will learn it from Cousin Geoffrey’s windows.”

The Chamber of Myths had always exercised a fascination over me, but never more so than to-day. I was so excited by what I saw that I forgot for a time the mission on which I had come. The subjects of the different windows represented Woman in various guises and forms: there was the mother with the baby in her arms: there was the maiden crowning herself with spring flowers, there was the wife tending the vines and watching for the return of her absent husband. One window was larger than the rest, and it contained what I supposed was a copy of a well-known masterpiece. The world’s greatest Friend sat in the centre of a group of children. Some had climbed into His arms, some leant against His knees, some knelt at His feet, the tender and gracious hands were raised in blessing, the eyes shone with the highest love. In the background a mother stood, worship in her face; adoration, humility, joy, thanksgiving in her smile. This picture of Christ blessing children made me weep.

“Oh, if I could but see the original,” I murmured.

I did not know then what I afterwards learnt that I was looking at the original; that this painted window was the work, the greatest work, of the eccentric owner of the house. Between each of the pointed windows hung valuable Gobelin tapestries, some the work of the great French artist, Noel Coypel; others by the splendid workman, Jans. I learned the value of these rare tapestries later on; now I scarcely noticed them, so absorbed was I in the fascination of the windows. Each window contained a deep seat, which was approached by oak steps, highly polished and black with age. The floor of the room was also of black oak. The roof was high and pointed, made of oak and exquisitely carved. Behind each of the tapestry curtains I discovered a small locked cupboard. There were four oak bureaus in the room, each of which contained ten separate locked drawers. A work-table of ivory, inlaid with lovely lapis lazuli, was also locked. There was an old-fashioned writing-table, and three or four oak chests. Everything that could be fitted with a key in this chamber had a lock which was securely fastened. I thought it highly probable that each lock would have to be fitted with a separate key. In this case, after making a careful calculation, I found that if I were to acquaint myself with all the secrets contained in the Chamber of Myths, I must be supplied with about sixty separate keys. No wonder the task before me seemed to increase in magnitude as I approached it.

Opening my brown leather bag, I laid the keys which Mr Gray had given me on a slender Queen Anne table, which stood near one of the tapestry recesses. My first task was to arrange them according to size. This occupied me until two o’clock, when a slow, somewhat heavy step on the stairs warned me that Mrs Drake was approaching. I did not want her to see me at my task, and hastened to meet her. She had provided a dainty little lunch for me; not in the kitchen, but in the queer and desolate sitting-room where I had first seen Cousin Geoffrey. I ate my chop off old Sèvres china, and drank a refreshing draught of water out of a tall, rose-coloured Flemish glass. I was far too excited to linger long over the meal. The moment I had satisfied my hunger, I ran back to the octagon room, and continued my task of arranging and sorting the keys. I had provided myself with paper and ink, and as I fitted each key to its lock I fastened a label to it. Night overtook me, however, before my work was a quarter done. I put the keys once more into the brown bag—the unsorted ones at the bottom, those with the labels at the top. I went down-stairs, desired Drake to fetch a cab for me, told him I should return to the house early the next day, and took the precious bag containing the keys back to the lawyer’s office. He was within, and evidently expecting me.

“Well, Miss Rosamund,” he said, “and what luck have you had?”

“None up to the present,” I replied. Then I continued: “There must have been a sad want of order in some person’s brain not to have had these keys labelled.”