The Mezzotint

== Plot summary ==

== Plot summary ==

Mr. Williams, a [[Research fellow#United_Kingdom|fellow]] of Canterbury College at the [[University of Cambridge]], is expanding the Ashleian Museum’s collection of English engravings and topographical drawings. A dealer, Mr. Britnell, writes to him drawing his attention to item 978 in his firm’s catalogue; purchasing the item for £2 2s, Mr. Williams finds it to be an “indifferent” and “amateur” [[mezzotint]] showing the front view of a manor house and its lawn in the moonlight. A torn paper label on the back of the mezzotint reads “—ngley Hall” and “—ssex”.

Mr. Williams, a [[Research fellow#United_Kingdom|fellow]] of Canterbury College at the [[University of Cambridge]], is expanding the Ashleian Museum’s collection of English engravings and topographical drawings. A dealer, Mr. Britnell, writes to him drawing his attention to item 978 in his firm’s catalogue; purchasing the item for £2 2s, Mr. Williams finds it to be an “indifferent” and “amateur” [[mezzotint]] showing the front view of a manor house and its lawn in the moonlight. A torn paper label on the back of the mezzotint reads “—ngley Hall” and “—ssex”.

Williams’ friend Professor Binks notes that there is a figure in the extreme foreground of the mezzotint, which Williams had not previously noted. That evening, Williams shows the mezzotint to his colleague Garwood, who describes the figure as “rather too grotesque”. Looking at the mezzotint late that night, Williams is shocked to see that it now shows a figure clad in “a strange black garment with a white cross on the back” crawling across the lawn on all fours.

Williams’ friend Professor Binks notes that there is a figure in the extreme foreground of the mezzotint, which Williams had not previously noted. That evening, Williams shows the mezzotint to his colleague Garwood, who describes the figure as “rather too grotesque”. Looking at the mezzotint late that night, Williams is shocked to see that it now shows a figure clad in “a strange black garment with a white cross on the back” crawling across the lawn on all fours.

The following morning, Williams invites his neighbour Nisbet for breakfast and asks him to describe the mezzotint. Nisbet observes that there is no figure in the mezzotint, but notes that one of the ground floor windows of the manor house is open. Nisbet suggests that “it looks very much as if we were assisting at the working out of a tragedy somewhere”, asking “has it happened already, or is it going to come off?” Williams surmises that “we’re meant to see the whole thing” and suggests that the mezzotint will not change in the daylight.

The following morning, Williams invites his neighbour Nisbet for breakfast and asks him to describe the mezzotint. Nisbet observes that there is no figure in the mezzotint, but notes that one of the ground floor windows of the manor house is open. Nisbet suggests that “it looks very much as if we were assisting at the working out of a tragedy somewhere”, asking “has it happened already, or is it going to come off?” Williams surmises that “we’re meant to see the whole thing” and suggests that the mezzotint will not change in the daylight.

Williams, Nisbet, and Garwood spent the afternoon together; returning to Williams’ rooms at five o’clock, they find his servant, Mr. Filcher, sitting in a chair and starting at the mezzotint “with undisguised horror”. Looking at the mezzotint, the men find that it now shows the figure – described as “horribly thin” with “a white dome-like forehead and a few straggling hairs” – striding across the lawn away from the manor house carrying a child. Looking at the mezzotint again that evening, the find that the figure has disappeared once more.

Williams, Nisbet, and Garwood spent the afternoon together; returning to Williams’ rooms at five o’clock, they find his servant, Mr. Filcher, sitting in a chair and starting at the mezzotint “with undisguised horror”. Looking at the mezzotint, the men find that it now shows the figure – described as “horribly thin” with “a white dome-like forehead and a few straggling hairs” – striding across the lawn away from the manor house carrying a child. Looking at the mezzotint again that evening, find that the figure has disappeared once more.

Reading through [[gazetteer]]s and guidebooks, Williams surmises that the mezzotint depicts Anningley Hall in [[Essex]]. ”Murray’s Guide to Essex” states that the Hall was owned by the Francis family, which went extinct after the last heir mysteriously as an infant in 1802. The ”Guide” further states that Mr. Arthur Francis (the father of the disappearing boy) was a talented amateur mezzotint engraver who lived in isolation following his son’s disappearance, dying three years later immediately after completing a mezzotint of Anningley Hall.

Reading through [[gazetteer]]s and guidebooks, Williams surmises that the mezzotint depicts Anningley Hall in [[Essex]]. ”Murray’s Guide to Essex” states that the Hall was owned by the Francis family, which went extinct after the last heir mysteriously as an infant in 1802. The ”Guide” further states that Mr. Arthur Francis (the father of the disappearing boy) was a talented amateur mezzotint engraver who lived in isolation following his son’s disappearance, dying three years later immediately after completing a mezzotint of Anningley Hall.