The Lost Stradivarius. John Meade Falkner
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the candles which stood ready in their sconces on either side of the desk. The Coranto was followed by a Sarabanda, and the Sarabanda by a Gagliarda. My brother stood playing, with his face turned to the window, with the room and the large wicker chair of which I have spoken behind him. The Gagliarda began with a bold and lively air, and as he played the opening bars, he heard behind him a creaking of the wicker chair. The sound was a perfectly familiar one—as of some person placing a hand on either arm of the chair preparatory to lowering himself into it, followed by another as of the same person being leisurely seated. But for the tones of the violin, all was silent, and the creaking of the chair was strangely distinct. The illusion was so complete that my brother stopped playing suddenly, and turned round expecting that some late friend of his had slipped in unawares, being attracted by the sound of the violin, or that Mr. Gaskell himself had returned. With the cessation of the music an absolute stillness fell upon all; the light of the single candle scarcely reached the darker corners of the room, but fell directly on the wicker chair and showed it to be perfectly empty. Half amused, half vexed with himself at having without reason interrupted his music, my brother returned to the Gagliarda; but some impulse induced him to light the candles in the sconces, which gave an illumination more adequate to the occasion. The Gagliarda and the last movement, a Minuetto, were finished, and John closed the book, intending, as it was now late, to seek his bed. As he shut the pages a creaking of the wicker chair again attracted his attention, and he heard distinctly sounds such as would be made by a person raising himself from a sitting posture. This time, being less surprised, he could more aptly consider the probable causes of such a circumstance, and easily arrived at the conclusion that there must be in the wicker chair osiers responsive to certain notes of the violin, as panes of glass in church windows are observed to vibrate in sympathy with certain tones of the organ. But while this argument approved itself to his reason, his imagination was but half convinced; and he could not but be impressed with the fact that the second creaking of the chair had been coincident with his shutting the music-book; and, unconsciously, pictured to himself some strange visitor waiting until the termination of the music, and then taking his departure.
His conjectures did not, however, either rob him of sleep or even disturb it with dreams, and he woke the next morning with a cooler mind and one less inclined to fantastic imagination. If the strange episode of the previous evening had not entirely vanished from his mind, it seemed at least fully accounted for by the acoustic explanation to which I have alluded above. Although he saw Mr. Gaskell in the course of the morning, he did not think it necessary to mention to him so trivial a circumstance, but made with him an appointment to sup together in his own rooms that evening, and to amuse themselves afterwards by essaying some of the Italian music.
It was shortly after nine that night when, supper being finished, Mr. Gaskell seated himself at the piano and John tuned his violin. The evening was closing in; there had been heavy thunder-rain in the afternoon, and the moist air hung now heavy and steaming, while across it there throbbed the distant vibrations of the tenor bell at Christ Church. It was tolling the customary 101 strokes, which are rung every night in term-time as a signal for closing the college gates. The two young men enjoyed themselves for some while, playing first a suite by Cesti, and then two early sonatas by Buononcini. Both of them were sufficiently expert musicians to make reading at sight a pleasure rather than an effort; and Mr. Gaskell especially was well versed in the theory of music, and in the correct rendering of the basso continuo. After the Buononcini Mr. Gaskell took up the oblong copy of Graziani, and turning over its leaves, proposed that they should play the same suite which John had performed by himself the previous evening. His selection was apparently perfectly fortuitous, as my brother had purposely refrained from directing his attention in any way to that piece of music. They played the Coranto and the Sarabanda, and in the singular fascination of the music John had entirely forgotten the episode of the previous evening, when, as the bold air of the Gagliarda commenced, he suddenly became aware of the same strange creaking of the wicker chair that he had noticed on the first occasion. The sound was identical, and so exact was its resemblance to that of a person sitting down that he stared at the chair, almost wondering that it still appeared empty. Beyond turning his head sharply for a moment to look round, Mr. Gaskell took no notice of the sound; and my brother, ashamed to betray any foolish interest or excitement, continued the Gagliarda, with its repeat. At its conclusion Mr. Gaskell stopped before proceeding to the minuet, and turning the stool on which he was sitting round towards the room, observed, "How very strange, Johnnie,"—for these young men were on terms of sufficient intimacy to address each other in a familiar style,—"How very strange! I thought I heard some one sit down in that chair when we began the Gagliarda. I looked round quite expecting to see some one had come in. Did you hear nothing?"
"It was only the chair creaking," my brother answered, feigning an indifference which he scarcely felt. "Certain parts of the wicker-work seem to be in accord with musical notes and respond to them; let us continue with the Minuetto."
Thus they finished the suite, Mr. Gaskell demanding a repetition of the Gagliarda, with the air of which he was much pleased. As the clocks had already struck eleven, they determined not to play more that night; and Mr. Gaskell rose, blew out the sconces, shut the piano, and put the music aside. My brother has often assured me that he was quite prepared for what followed, and had been almost expecting it; for as the books were put away, a creaking of the wicker chair was audible, exactly similar to that which he had heard when he stopped playing on the previous night. There was a moment's silence; the young men looked involuntarily at one another, and then Mr. Gaskell said, "I cannot understand the creaking of that chair; it has never done so before, with all the music we have played. I am perhaps imaginative and excited with the fine airs we have heard to-night, but I have an impression that I cannot dispel that something has been sitting listening to us all this time, and that now when the concert is ended it has got up and gone." There was a spirit of raillery in his words, but his tone was not so light as it would ordinarily have been, and he was evidently ill at ease.
"Let us try the Gagliarda again," said my brother; "it is the vibration of the opening notes which affects the wicker-work, and we shall see if the noise is repeated." But Mr. Gaskell excused himself from trying the experiment, and after some desultory conversation, to which it was evident that neither was giving any serious attention, he took his leave and returned to New College.
CHAPTER II
I shall not weary you, my dear Edward, by recounting similar experiences which occurred on nearly every occasion that the young men met in the evenings for music. The repetition of the phenomenon had accustomed them to expect it. Both professed to be quite satisfied that it was to be attributed to acoustical affinities of vibration between the wicker-work and certain of the piano wires, and indeed this seemed the only explanation possible. But, at the same time, the resemblance of the noises to those caused by a person sitting down in or rising from a chair was so marked, that even their frequent recurrence never failed to make a strange impression on them. They felt a reluctance to mention the matter to their friends, partly from a fear of being themselves laughed at, and partly to spare from ridicule a circumstance to which each perhaps, in spite of himself, attached some degree of importance. Experience soon convinced them that the first noise as of one sitting down never occurred unless the Gagliarda of the "Areopagita" was played, and that this noise being once heard, the second only followed it when they ceased playing for the evening. They met every night, sitting later with the lengthening summer evenings, and every night, as by some tacit understanding, played the "Areopagita" suite before parting. At the opening bars of the Gagliarda the creaking of the chair occurred spontaneously with the utmost regularity. They seldom spoke even to one another of the subject; but one night, when John was putting away his violin after a long evening's music without having played the "Areopagita," Mr. Gaskell, who had risen from the pianoforte, sat down again as by a sudden impulse and said—
"Johnnie, do not put away your violin yet. It is near twelve o'clock and I shall get shut out, but I cannot stop to-night without playing the Gagliarda. Suppose that all our theories of vibration and affinity are wrong, suppose that there really comes here night by night some strange visitant to hear us, some poor creature whose heart is bound up in that tune; would it not be unkind to send him away without the hearing of that piece which he seems most