but the superior deftness of the habitually used hand will make itself apparent in spite of his efforts; whereas he can make any alterations in his clothing that he pleases. And thus reflecting, the suspicion grew more and more strong that the two men might very well have been one and the same person, and that it would be discreet to keep a bright look-out for a left-handed man with a right-sided nystagmus.
During all this time I had seen nothing of my new friend Miss Sylvia. But I had by no means forgotten her. Without wishing to exaggerate my feelings, I may say that I had taken a strong liking to that very engaging young lady. She was a pleasant, easy-mannered girl, evidently good-tempered, and very frank and simple; a girl—as Mr. Sparkler would have said—"with no bigod nonsense about her." Her tastes ran along very similar lines to my own, and she was clever enough to be a quite interesting companion. Then it was evident that she liked me—which was in itself an attraction, to say nothing of the credit that it reflected on her taste—and, in a perfectly modest way, she had made no secret of the fact. And finally, she was exceptionally good-looking. Now people may say, as they do, that beauty is only skin deep—which is perfectly untrue, by the way; but even so, one is more concerned with the skins of one's fellow creatures than with their livers or vermiform appendices. The contact of persons, as of things, occurs at their respective surfaces.
From which it will be gathered that I was only allowing a decent interval to elapse before repeating my visit to "The Hawthorns"; indeed, I was beginning to think that a sufficient interval had already passed and to contemplate seriously my second call, when my intentions were forestalled by Sylvia herself. Returning home one Friday evening, I found on my mantelpiece a short letter from her, enclosing a ticket for an exhibition of paintings and sculpture at a gallery in Leicester Square, and mentioning—incidentally—that she proposed to visit the show on the following morning in order to see the works by a good light; which seemed such an eminently rational proceeding in these short winter days, that I determined instantly to follow her example and get the advantage of the morning light myself.
I acted on this decision with such thoroughness that, when I arrived at the gallery, I found the attendant in the act of opening the doors, and, for nearly half an hour I was in sole possession of the premises. Then, by twos and threes, other visitors began to straggle in, and among them Sylvia, looking very fresh and dainty and obviously pleased to see me. "I am glad you were able to come," she said, as we shook hands. "I thought you would, somehow. It is so much nicer to have someone to talk over the pictures with, isn't it?"
"Much more interesting," I agreed. "I have been taking a preliminary look round and have already accumulated quite a lot of profound observations to discharge at you as occasion offers. Shall we begin at number one?"
We began at number one and worked our way methodically picture by picture, round the room, considering each work attentively with earnest discussion and a wealth of comment. As the morning wore on, visitors arrived in increasing numbers, until the two large rooms began to be somewhat inconveniently crowded. We had made a complete circuit of the pictures and were about to turn to the sculpture, which occupied the central floor space, when Sylvia touched me on the arm. "Let us sit down for a minute," said she. "I want to speak to you."
I led her to one of the large settees that disputed the floor-space with the busts and statuettes, and, somewhat mystified by her serious tone and by the rather agitated manner, which I now noticed for the first time, seated myself by her side. "What is it?" I asked.
She looked anxiously round the room, and, leaning towards me, said in a low tone: "Have you noticed a man who has been keeping near us and listening to our conversation?"
"No, I haven't," I replied. "If I had I would have given him a hint to keep farther off. But there's nothing in it, you know. In picture galleries it is very usual for people to hang about and try to overhear criticisms. This man may be interested in the exhibits."
"Yes, I know. But I don't think this person was so much interested in the exhibits. He didn't look at the pictures, he looked at us. I caught his eye several times reflected in the picture-glasses, and once or twice I saw him looking most attentively at this crucifix of mine. That was what really disturbed me. I wish, now, that I hadn't unbuttoned my coat."
"So do I. You will have to leave that crucifix at home if it attracts so much undesirable attention. Which is the man? Is he in this room?"
"No, I don't see him now. I expect he has gone into the next room."
"Then let us go there, too; and if you will point him out to me, I will pay him back in his own coin."
We rose and made our way to the door of communication, and, as we passed into the second room, Sylvia grasped my arm nervously. "There he is—don't let him see us looking at him—he is sitting on the settee at the farther end of the room."
It was impossible to make a mistake since the settee held only a single person; a fairly well-dressed, ordinary-looking man, rather swarthy and foreign in appearance, with a small waxed moustache. He was sitting nearly opposite the entrance door and seemed, at the moment to be reading over the catalogue, which he held open on his knee; but, as he looked up almost at the moment when we entered, I turned my back to him and continued my inspection with the aid of the reflection in a picture-glass. "He is probably a journalist," I said. "You see he is scribbling some notes on the blank leaves of his catalogue; probably some of your profound criticisms, which will appear, perhaps to-morrow morning, clothed in super-technical jargon, in a daily paper."
Here I paused suddenly, for I had made a rather curious observation. The reflection in a mirror is, as everybody knows, reversed laterally; so that the right hand of a person appears to be the left, and vice versa. But in the present case, no reversal seemed to have taken place. The figure in the reflection was writing with his right hand. Obviously, then, the real person was writing with his left.
This put a rather different aspect on the affair. Up to the present, I had been disposed to think that Sylvia had been unduly disturbed; for there are plenty of ill-bred bounders to be met in any public place who will stare a good-looking girl out of countenance. But now my suspicions were all awake. It is true that left-handed men are as common as blackberries; but still—"Can you tell me, Miss Vyne," I asked, as we worked our way towards the other end of the room, " if this man is at all like the one who frightened you so in Millfield Lane?"
"No, he is not. I am sure of that. The man in the lane was a good deal taller and thinner."
"Well, said I, "whoever he is, I want to have a good look at him, and the best plan will be to turn our attention to the sculpture. Shall we go and look at that rather remarkable pink bust?. That will give our friend a chance of another stare at you, and, if he doesn't take it, I will go and inspect him where he sits."
The bust to which I had referred was executed in a curious, rose-tinted marble, very crystalline and translucent, a material that suited the soft, girlish features of its subject admirably. It stood on an isolated pedestal quite near the settee on which the suspicious stranger was sitting, and I hoped that our presence might lure him from his retreat. "I don't think," I said, taking up a position with my back to the settee," that I have ever seen any marble quite like this. Have you?"
"No," replied Sylvia. "It looks like coarse lump sugar stained pink. And how very transparent it is; too transparent for most subjects."
Here she gave a quick, nervous glance at me, and I was aware of a shadow thrown by some person standing behind me. Had our friend risen to the bait already?
I continued the conversation in good audible tones. "Very awkward these isolated pedestals would be for slovenly artists who scamp the back of their work."
With this remark I moved round the pedestal as if to examine the back of the bust, and
