“Salieri it is, then!” said Rheinhardt.
As if in response, the inebriated woman clapped her hands together and squealed with pleasure. One of her companions had handed her a small box. She opened it up and removed a piece of cheap jewelry.
“There are two further questions that must be raised concerning The Magic Flute,” said Liebermann. “First, can we learn anything more of Salieri's objectives by making a study of the opera? And second, to what extent does the opera cast new light on evidence already in our possession?”
Rheinhardt tugged at his lower lip.
“I am no expert on Mozart operas, but The Magic Flute must surely be counted the least coherent.”
“That is because nothing in The Magic Flute is what it appears to be. It is full of arcane Masonic symbols.” Liebermann suddenly remembered that he was still carrying the Court Opera program. He pulled it out of his pocket and flicked through the pages until he found some biographical notes on the composer. “Here we are… Mozart… initiated into the degree of apprentice in the Loge zur Wohltatigkeit on 14 December 1784… and in 1785 initiated into the degree of fellow and that of master one month later… libretto by Schikaneder-who has been described as a Lodge brother…” Liebermann flicked over the page. “Baron Ignaz von Born… Grand Secretary of the Vienna Loge zur wahren Eintracht… The outline of the opera was discussed at the bedside of Born, a master of Masonic symbolism and an authority venerated by all Viennese Masons.”
“Does it say anything about what these symbols are supposed to represent?”
“No. For that you will probably have to consult a Freemason.”
“I very much doubt whether they will agree to help.”
“Why do you say that?”
“Relations between the security office and the Freemasons are not good.” Liebermann tilted his head questioningly. “Oh, it's all very complicated.” Rheinhardt fussed with his napkin.
“Go on.”
“The Freemasons have not been allowed to perform their rituals in Austria for more than thirty years. The law permits them to meet under the aegis of friendly societies-but nothing more.”
“Freemasonry is illegal?”
“Well, not exactly. Many years ago it was decided that something should be done about the proliferation of subversive societies. People were more worried about dissent in those days, which is understandable: the revolution of 1848 was still a recent memory. So the Law on Associations was passed. This established state control of all associations.”
“What does that mean?”
“Very simply, if you wish to form a society-philosophical, artistic, political, or otherwise-you must apply for a license that is granted at the discretion of a specially appointed commissioner. Now, the outcome of this process was-for the Freemasons-quite unsatisfactory. It is not illegal to be a Freemason. Nor is it illegal for Freemasons to meet. However, it is illegal for Freemasons to gather for the purpose of conducting a ‘secret’ ritual. So the security office has been obliged to monitor the Freemasons quite closely, which has been the cause of considerable bad feeling. If we are to discover more about the symbolism of The Magic Flute, then I suspect this will be best achieved by long hours spent poring over books in a library. Fortunately, I have Haussmann at my disposal.”
“I wonder whether…” Liebermann's voice trailed off as his brow furrowed with concentration.
“You wonder what?”
Liebermann looked at Rheinhardt. “I wonder if the swastika features in their arcana.”
“Very possibly. I believe that the Masons make use of many ancient emblems. Alchemical signs, the all-seeing eye, the sevenfold flame…” Rheinhardt stopped listing enigmatic symbols. “Max?”
The young doctor had already detected the expression of deep concern on the inspector's face.
“Yes, Oskar. Salieri has murdered the Queen of the Night, her three ladies, Papageno, and Monostatos. But the cast of The Magic Flute contains so many more characters: Tamino, Pamina, Sarastro.”
“And children! Isn't there some sort of chorus-composed of three boys?”
“Yes,” said Liebermann, turning the page of the program and staring ruefully at the long list of singers. “If he means to eliminate all of them, his work has hardly begun.”
46
IT WAS LATE IN THE afternoon. The gas lamps had been lit, and most of the exhibition halls in the Natural History Museum were deserted.
Earlier in the day Liebermann had written a note to Clara and her family, apologizing for his rude and precipitate departure the previous evening. He had requested their forgiveness and promised a full explanation. In truth, however, he was still unsure what he was going to say.
Clara had sent a prompt reply to the hospital, coolly informing her fiance that the Weiss family would be expecting him for dinner at half past seven. The communication did not end with her customary list of gushing endearments. Liebermann folded the note into quarters, slipped it into his top pocket, and spent the rest of the afternoon concentrating on his patients: Fraulein Allers, who suffered from hysterical abdominal pains; Herr Fogel, who wept bitterly for no apparent reason; Frau Huhle, who could not stop washing her hands; and finally Herr Beiber, the monomaniac who had fallen in love with the Archduchess Marie-Valerie. As soon as Liebermann had finished his case notes, he remembered Clara's letter and felt a certain heaviness around his heart. This physical sensation was accompanied by a general sense of despondency.
On leaving the hospital, Liebermann decided that he might benefit from a brief sojourn in the Natural History Museum. Even if it failed to improve his mood, it would at least give him an opportunity to collect his thoughts.
Liebermann climbed up the great staircase and wandered unhurriedly through the main galleries. He peered into the glass cabinets and examined the exhibits: brightly colored birds; a rangy fox; a pride of lions; tarantulas, bigger than a man's hand; magisterial tigers and butterflies with crepe-paper wings of turquoise and yellow; a massive crab given as a gift by the emperor of Japan to Emperor Franz Josef; the fossilized remains of great lizards; the freestanding skeleton of a whale; and, finally, a prehistoric man and woman, huddled together in the dusty bed of their burial pit.
Here was an enduring marriage.
Liebermann tried to imagine his bones and Clara's, intermingled forever beneath the soil. But he could not do so. The proscenium of his imagination remained stubbornly dark.
A custodian was closing the large wooden door ahead. Behind it, a life-size lacquered papier-mache model of a stegosaur fell into shadow.
Liebermann turned, and retraced his steps.
The gas lamps in the Geological Hall had been dimmed, but the gemstones and geodes still played with the meager light. The effect was quite magical. As Liebermann strolled down the central aisle, he was accompanied by waves of coruscation. Rocks flared and glinted as though an invisible retainer were scattering stardust in his path.
Ensconced in a window seat on the far side of the gallery was a woman. Her flaming hair and straight back instantly announced her identity: it was Miss Lydgate. The Englishwoman's nose was buried between the covers of a book. With a quick, mercurial movement she turned the page. She seemed to be devouring the text at an alarming speed.
Liebermann approached, allowing his footsteps to sound more loudly. As he drew closer, her concentration broke and she looked up from the volume.
“Doctor Liebermann-what a pleasant surprise.” The words were spoken softly, dreamily, as if she were waking from a deep sleep. She was about to stand, but Liebermann gestured for her to remain seated.
“Miss Lydgate.” Liebermann bowed.
The gas lamps hissed and the unusual stillness was disturbed only by the distant groan of creaking hinges and the soft jangling of keys. The galleries were being closed off one by one.