# The Strand Magazine/Volume 5/Issue 30/A Work of Accusation

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A Work of Accusation.
By Harry How.
"uicide whilst in a state of temporary insanity."
Such was the verdict of the coroner's jury, and they could scarcely have declared anything else—there was not a tittle of evidence implicating another as the perpetrator of the deed. The deceased was found lying in his studio at the foot of his easel, shot through the heart. The revolver—a six-chambered one—was tightly gripped in his hand. Four out of the six chambers remained undischarged. It must have been suicide, simple and premeditated! The inquiry into the death of the deceased revealed only one spark of anything approaching sensationalism. It was the evidence of the housekeeper—an old lady of distinctly nervous temperament—who wept bitterly. Previous to the sad occurrence she had heard the firing of a pistol some five or six times during a period of two days. On the first occasion she had hurried to the studio, and the alarmed state of her feelings was sufficient to cause her to overlook the formality of giving the customary tap at the door previous to entering. She entered the room, only to find the deceased artist holding a pistol—the one produced—and looking at its barrel, still smoking, earnestly. He burst into a hearty laugh when he saw her, and told her not to be frightened.
"It is nothing, Mrs. Thompson," he said, "and should you hear the firing again, do not be alarmed. Don't be frightened."
So the firing was frequent, and though it played pitifully with the old housekeeper's nerves and shook her seventy-year-old bones considerably, she quietly submitted to it and "hoped it was all right."
"Don't be frightened.
I knew Godfrey Huntingdon well. He often chatted over his pictures with me. As a medical man and a student somewhat beyond the range of physic and prescriptions, the pros and cons of an idea to be eventually carried to the canvas gave rise to many interesting and discussable points. I liked the man—he was so frank and true and positively simple in his unassuming manner. Poor fellow! He never dreamt for a moment that he was a genius, but what he did not know the public were quick to recognise. Every picture from his brush was watched and waited for—a canvas from him meant a vivid, striking, often sensational episode, which seemed to live. I have some of his work in my dining-room now. I often look at his figures. They are more human than anything I have seen by any other modern painter. They seem possessed of breath and beating ​hearts of their own, with tongues that want to speak, and eyes that reveal a thinking brain. The trees in his landscapes appear to be gently shaken by the breeze from across the moorland, the clouds only need touching by the breath of the firmament to lazily move across the face of the blue sky. He was indeed a genius. It was always an open question in the minds of the public and the judgment of the critics as to who excelled the other—Godfrey Huntingdon or Wilfred Colensoe. They both belonged to the same school of ideas. Their works were equally impressive, their figure and portrait painting particularly so, and the judges said it would be a lifelong race between them for supremacy with the brush. Huntingdon's sad death was a terrible blow to the artistic world. I went to his funeral.
He had not forgotten me. He left me all his studies. There were several hundreds of them. Many were familiar to me, for he had made them whilst we were smoking a pipe together, as I pointed out to him the necessary laws of science he must needs regard in order to insure accuracy in his work. The studies made quite a number of huge bundles, and in the evening I would delight in sorting them through. It was a long task, for I found something to admire and think over in every single one of them.
"Slowly I lifted up those pieces of brown paper."
A fortnight had passed away since they first came into my possession. I had only another parcel to go through, and I should be finished. I was quietly sitting in my chair with my legs stretched out on another chair, as is my custom—I find it remarkably restful—and lighting up my brier I cut the string of the last bundle. Slowly, one by one, I lifted up those pieces of brown paper. They were still objects of reverence to me. Here was the head of a child, a sweetly pretty child, and next to it a study of a dissipated character, the face of a man fast losing every working power of his brain and body by liquor. I realized the genius of my dead friend more and more.
I had gone through quite a score of these play studies, when my hand stretched out for another from the pile by my side. I turned the piece of paper round and round, and it was some time before I grasped what the subject was intended for. It appeared to be a piece of round tubing from which smoke was protruding. The next half-dozen studies were of a similar character. In one the smoke was very small, just a thin streak; in another it was a full volume, as though to represent the after effect of the discharge of a bullet from a revolver. I looked again. The chalk drawing of the tubing was evidently intended for the barrel of a pistol! Huntingdon always put the date on every study he made, and I found my hand trembling as I turned the paper over. Great heavens—10th October, 1872—the day before his death! Another paper bore the same date, and the others had the date of the previous day—the 9th. Was his death, then, the result of an accident and not a suicide after all? Here was the simple explanation of it so far—here was the reason for the several shots which the old housekeeper had heard fired. He had discharged the revolver at these times in order to watch the effect and immediately place ​his impressions on the pieces of paper I now held in my hand. My knowledge of Godfrey Huntingdon—both medically and fraternally—told me that, at the time of his death, there was positively nothing on his mind to cause such an act, and I now began reasoning the whole within myself once again, as I had done many times since the occurrence.
"It's a mystery—a terrible mystery!" I exclaimed, jumping up and commencing to pace the room. I walked that room for over an hour, and was only aroused from my reverie by the announcement of a servant that supper was served. I ate my meal in silence, and the deliberate mouthfuls I took, and my more than ordinarily methodical manner of eating, must have told my wife that to disturb my present inward argument would have been disastrous to the immediate prospects of domestic harmony. I had come to a conclusion. There is nothing like science and its accompanying occupations for balancing a man's brain. A game of chess is recreative concentration. So the study of science was with me, whilst physic was my profession. Scientific research and the weighing of Nature's problems had steadied my thoughts and cooled my actions. It was a settled thing with me that poor Huntingdon had been murdered. By whom? Scientific investigation had transformed me into a calculating individual. Every action, to me, could be proved as a proposition in Euclid or an algebraical problem. I therefore said nothing about my startling discovery, and decided to wait the possibility of a further suggestion coming in my way, and "proving it."
I suppose it was the deep interest I took in all matters concerning art which brought so many artist-patients to my consulting room. Six months had passed since the fatal 11th October, and the public were loudly expressing their approval of a marvellously impressive bit of Wilfred Colensoe, which was the feature—and very justly so—of one of the early spring exhibitions. It was the picture of a duel—a very realistic canvas indeed. The young man—lying bleeding on the ground—almost told the story of the attempted avenge of an action towards someone dear to him on the part of an elderly roué, whose still-smoking revolver was in his hand. Colensoe came to see me one morning. He was a remarkably handsome man, classically featured, with hair picturesquely scattered with streaks of silver.
"'You've been doing too much,' I said."
"Done up, eh?" I said to him.
"Done up is the word," he answered.
"You've been doing too much," I said, looking into his grey eyes as I held his hand a moment. "You must cease work for a time. Get away from your easel, go abroad, and forget to take your brushes with you. Go anywhere, a hundred miles from a retail colourman's."
"My dear doctor," he answered, "your prescription is too strong. You forget I am an artist. It is like taking a man with a dying thirst to a fountain of water and telling him he mustn't drink. I can't leave my work."
"When I tell you that it is either a case of your leaving your work or your work leaving you, my remark may not be very original, but it is undeniably true. Do you sleep well?"
"I can't say," was his reply. "When I fall asleep at night I never wake until my hour for rising. But I am more tired in the morning than when I turned in over-night."
​"Quite so. Do you dream at all?"
"Yes, I dream."
"Feel sleepy now—eh?"
"Doctor, I could go to bed for a week," he replied.
"Again, I tell you—overwork," I said, with strong deliberation. "Now I'll make you a proposal, which I can couple most heartily with the name of Mrs. Gratton. Come away with us. We are going to Herne Bay for a few weeks. I have taken a house there. Most invigorating place. You want no medicine, you won't leave your work alone, I won't be hard in my treatment of your case. Bring your tools with you. I will prescribe so much colour for you during the day—your paints and brushes may become converted into agreeable physic, but—they must be taken at periodical times. What do you say?"
A Colensoe consented—gratefully accepted my offer, stayed to lunch, and my wife took care to let him feel that the invitation was one of combined cordiality from both of us. I was a great admirer of Colensoe's work, and therefore took a deep interest in the worker. In a week's time we were at Herne Bay. A room—with a good light—was apportioned off as a small studio for Colensoe. A week passed by. Colensoe obeyed my instructions to the letter. I limited his working hours, and he began himself to be thankful when the periodical times for laying aside his brush came round. I noticed this, and lessened the hours of painting more, thinking that by degrees he would soon put his palette away completely and take the undisturbed rest he needed for a time to restore him thoroughly.
About a fortnight after our arrival I was sitting alone in the dining-room. My wife and visitor had retired an hour ago. It was a glorious night. I turned out the gas, walked to the window, and drew up the blinds. The sea was sparkling with gems thrown out by the moonbeams. The beauty of the night seemed to heighten the stillness of the surroundings. Although it wanted but a few minutes to midnight I determined to walk out to the cliffs—a couple of hundred yards from the house—and view the moonlit scenery to greater advantage. I turned from the window, opened the door, and, just as I was turning into the passage, I heard a footstep. It was a steady, deliberate step; there was nothing uncertain or hesitating about it. I waited a moment; it came nearer. I drew back into the shadow. Now it was on the top stair. A form appeared in sight. It was Wilfred Colensoe.
"Colensoe," I cried, softly; "why, what's the matter?"
"He stood before his easel."
He made no answer. With monotonous step he descended the stairs and was now at the bottom. His blank, staring eyes at once told me that he was in a state of somnambulism. He was fully dressed. His face was deadly pale, his features stolidly set, and his lips were gently moving as though impressively muttering. When he reached the bottom stair, he turned and walked in the direction of the room we had converted into a studio for him. I followed on quietly. With all the method and mysterious discre​tionary power of the sleep-walker he turned the handle of the door and entered. The room was flooded with light, for the roof was a glass one. I watched him take his palette in hand and play with the brushes on the colours. He stood before his easel, on which rested a half-finished canvas. And he painted—painted as true and as sure as if awake, blending the colours, picking out his work, working with all his old artistic touch and finish. All this time his lips were moving, muttering incoherent words I could not hear. At last he laid aside his tools with a sigh that almost raised compassion in my heart. Then walking towards the window at the far end of the room, he appeared to look out upon the sea. He was now talking louder. I crept up to him and tried to catch a word. It was a terrible brain-ringing word I heard—and uttered in a way I shall never forget.
"Murder!"
That was the word. "Murder, murder, murder!" he muttered, with agonized face. Yet another word came to his lips.
"Huntingdon!"
"Murder—Huntingdon!" I said within myself as I linked the two words together.
The sleeping man passed his hand across his forehead. It was evident that he was in the midst of an agonizing dream—a vision of conviction. Here stood the guilty man before me now, pale and motionless, the rays from the moon lighting up his face and revealing the word "guilt" written on every feature. I watched him and waited for something else to come from his lips. I stood by his side for nearly an hour, but he did nothing more than repeat these same two words. With measured tread he turned to go. I followed him to his bedroom and heard him turn the key. I sat up the whole night—thinking. None knew of the remarkable discovery which I had made amongst poor Huntingdon's sketches; none should know of what I had learnt to-night. By the morning I had fully determined upon my course of action. The ramblings of a sleep-walking man would not prove a conviction to those who would judge his deed. He should convict himself: He should witness against himself. He was a sleep-worker. I had met with many similar cases before, all of which tended to prove that sleep by no means deadens the faculties of labour. It is indisputable that the hands will follow the inclinations of the brains of somnambulists. They will act as they think—perform what they dream. If Colensoe would only work out his terrible night dreams!
My conduct towards him at the breakfast table and throughout the day was just the same as ever. It was far from a comfortable feeling, however, to pass the wine to one who had taken another's life, and to offer an after-dinner cigar to a murderer. The day passed. I slept during the afternoon, for I was tired with my over-night watching, and could I but put my inward plans into execution, it was more than probable that I should be awake for many nights to come. I told my wife that Colensoe was a somnambulist, and that he worked at the canvas equally as well whilst sleeping as waking. I impressed upon her the absolute necessity of silence on the subject, as I firmly believed that I was on the brink of a great discovery. Seeing that I was a medical man, her curiosity was in no way aroused. Indeed, she thought me foolish to give up my night's rest.
That night, after Colensoe had gone to bed, I went into his studio. My hand trembled somewhat as I placed on his easel a square piece of new canvas. This done, I waited patiently. A step on the stairs rewarded me. It was Colensoe walking again. His speech was louder this time, and more impressively distinct; his dream was evidently more agonizing than the night before. If he would only follow out the promptings of that dream—if he would but work to-night—to-night! I watched him breathlessly. He wandered about the room for some time, then suddenly, as though impelled by some mysterious force within, crossed to the cupboard where he kept his tools, took out his materials and walked to the canvas.
"Huntingdon—Huntingdon!" he cried, and the first lines of his everlasting vision were written on the hitherto untouched canvas. It was the outline of a man's face! For two hours he worked, and then, replacing his brushes and palette, went to bed. took the canvas away. Night after night for ten days I placed the canvas in position. Night after night the artist got nearer to accomplishing his own condemnation. And as the picture grew more like the man he had murdered, so his dream became more intense. His features showed that. The rapidity of his brush revealed the rush of thoughts within, of an anxiety to complete his task. Never was such a true portrait painted, and when on the last night he put the finishing touches to it, the face of Huntingdon seemed to live on the canvas. It was the face which existed in the brain of the painter. The last night's work was ​done. The sleeping man turned from his easel and went to his bedroom once more.
The morrow would tell me if Colensoe was guilty. I had little doubt of it in my own mind—but he should say so himself when waking as he had condemned himself whilst sleeping. I would take him to the studio and confront him with his own testimony. He should see the face of the man whose life he had taken, painted with his own hands. He was later than usual in coming down that morning. I left the breakfast-room with the intention of calling him, when, just as I got into the passage, I saw him at the top of the stairs. His hat was on. His face was ghastly pale, every feature was working. His eyes betokened some mad intention—their gaze appeared to kill. He almost flew down the stairs.
"Don't stop me," he cried. "I must go into the open. I want God's air. Let me go now—let me go, only for a little while!"
"Colensoe," I said, catching him by the arm, "what mad act do you contemplate?"
"Nothing—nothing. Believe me, nothing. I only want the refreshing breeze, that's all. I'm tired—worn out."
"Yes, you are truly tired," I said.
"What do you mean?" he cried.
"Your work."
"Work—what work?—who works?"
"Come with me," I said.
Like a child he followed me to his studio. I opened the door. The portrait of Huntingdon rested on the easel. He saw it. The eyes he had painted pierced him to the heart, and the lips almost moved in accusation. He shrieked the murdered man's name and fell to the ground. He was dead!
"He shrieked the murdered man's name."
The following letter was found on Wilfred Colensoe's dressing-table:—
"What good is life to me?—what good am I for life? Then why live? A guilty conscience only means a living death. You have been very good to me—both you and your wife. But I am going to end it all. Let me confess. It will bring me some small comfort even now in the dying hour I have given to myself. You remember poor Huntingdon? I shot that man—murdered him. Listen and then 'Good-bye.' Huntingdon and I were friendly rivals. You remember my picture of 'The Duel'? Yes. One day I visited Huntingdon. That same morning I had been making some studies of a revolver in the act of being discharged. I had it in my pocket when I went to see Huntingdon, and one chamber remained loaded. I walked straight into his studio. As I entered Huntingdon had a pistol in his hand pointed immediately towards me and—fired. In an instant my revolver was in my grasp and a bullet had entered his heart. That is the simple history of the crime. I fled from the place and none knew. Thank God this is written. A life for a life. I am passing through death all the day, and at night I do not cease to die. You do not know what that means. The guilty do. Angels of darkness play with you all day long and at night watch over you—watch over you that you do not escape, that they may gambol with you on the morrow. They are making merry now. They have got what they want—Me. Yes, a life for a life. I will deliver my own up. Good-bye."