The Confessions of Arsène Lupin - Maurice Leblanc (always you kirsty moseley TXT) 📗

the United States. That same evening, the tapestry was discovered in a trunk deposited in the cloakroom at the Gare Saint-Lazare.

The scheme, therefore, had miscarried. Lupin felt the disappointment so much that he vented his ill-humour in a communication to Colonel Sparmiento, ending with the following words, which were clear enough for anybody:

“It was very considerate of me to take only one. Next time, I shall take the twelve. Verbum sap.

“A. L.”

Colonel Sparmiento had been living for some months in a house standing at the end of a small garden at the corner of the Rue de la Faisanderie and the Rue Dufresnoy. He was a rather thickset, broad-shouldered man, with black hair and a swarthy skin, always well and quietly dressed. He was married to an extremely pretty but delicate Englishwoman, who was much upset by the business of the tapestries. From the first she implored her husband to sell them for what they would fetch. The Colonel had much too forcible and dogged a nature to yield to what he had every right to describe as a woman’s fancies. He sold nothing, but he redoubled his precautions and adopted every measure that was likely to make an attempt at burglary impossible.

To begin with, so that he might confine his watch to the garden-front, he walled up all the windows on the ground-floor and the first floor overlooking the Rue Dufresnoy. Next, he enlisted the services of a firm which made a speciality of protecting private houses against robberies. Every window of the gallery in which the tapestries were hung was fitted with invisible burglar alarms, the position of which was known, to none but himself. These, at the least touch, switched on all the electric lights and set a whole system of bells and gongs ringing.

In addition to this, the insurance companies to which he applied refused to grant policies to any considerable amount unless he consented to let three men, supplied by the companies and paid by himself, occupy the ground-floor of his house every night. They selected for the purpose three ex-detectives, tried and trustworthy men, all of whom hated Lupin like poison. As for the servants, the colonel had known them for years and was ready to vouch for them.

After taking these steps and organizing the defence of the house as though it were a fortress, the colonel gave a great housewarming, a sort of private view, to which he invited the members of both his clubs, as well as a certain number of ladies, journalists, art-patrons and critics.

They felt, as they passed through the garden-gate, much as if they were walking into a prison. The three private detectives, posted at the foot of the stairs, asked for each visitor’s invitation card and eyed him up and down suspiciously, making him feel as though they were going to search his pockets or take his fingerprints.

The colonel, who received his guests on the first floor, made laughing apologies and seemed delighted at the opportunity of explaining the arrangements which he had invented to secure the safety of his hangings. His wife stood by him, looking charmingly young and pretty, fair-haired, pale and sinuous, with a sad and gentle expression, the expression of resignation often worn by those who are threatened by fate.

When all the guests had come, the garden-gates and the hall-doors were closed. Then everybody filed into the middle gallery, which was reached through two steel doors, while its windows, with their huge shutters, were protected by iron bars. This was where the twelve tapestries were kept.

They were matchless works of art and, taking their inspiration from the famous Bayeux Tapestry, attributed to Queen Matilda, they represented the story of the Norman Conquest. They had been ordered in the fourteenth century by the descendant of a man-at-arms in William the Conqueror’s train; were executed by Jehan Gosset, a famous Arras weaver; and were discovered, five hundred years later, in an old Breton manor-house. On hearing of this, the colonel had struck a bargain for fifty thousand francs. They were worth ten times the money.

But the finest of the twelve hangings composing the set, the most uncommon because the subject had not been treated by Queen Matilda, was the one which Arsène Lupin had stolen and which had been so fortunately recovered. It portrayed Edith Swan-neck on the battlefield of Hastings, seeking among the dead for the body of her sweetheart Harold, last of the Saxon kings.

The guests were lost in enthusiasm over this tapestry, over the unsophisticated beauty of the design, over the faded colours, over the lifelike grouping of the figures and the pitiful sadness of the scene. Poor Edith Swan-neck stood drooping like an overweighted lily. Her white gown revealed the lines of her languid figure. Her long, tapering hands were outstretched in a gesture of terror and entreaty. And nothing could be more mournful than her profile, over which flickered the most dejected and despairing of smiles.

“A harrowing smile,” remarked one of the critics, to whom the others listened with deference. “A very charming smile, besides; and it reminds me, Colonel, of the smile of Mme. Sparmiento.”

And seeing that the observation seemed to meet with approval, he enlarged upon his idea:

“There are other points of resemblance that struck me at once, such as the very graceful curve of the neck and the delicacy of the hands⁠ ⁠… and also something about the figure, about the general attitude.⁠ ⁠…”

“What you say is so true,” said the colonel, “that I confess that it was this likeness that decided me to buy the hangings. And there was another reason, which was that, by a really curious chance, my wife’s name happens to be Edith. I have called her Edith Swan-neck ever since.” And the colonel added, with a laugh, “I hope that the coincidence will stop at this and that my dear Edith will never have to go in search of her true-love’s body, like her prototype.”

He laughed as he uttered these