contents of the cabinet. “Charming! charming!” he said to himself, with his head twisted appreciatively a little on one side. Lady Lydiard and Moody left him in undisturbed enjoyment of the china, and went on with the business of the bank-note.
“Ought we to take the number of the note, in case of accident?” asked her Ladyship.
Moody produced a slip of paper from his waistcoat pocket. “I took the number, my Lady, at the bank.”
“Very well. You keep it. While I am writing my letter, suppose you direct the envelope. What is the clergyman’s name?”
Moody mentioned the name and directed the envelope. Felix, happening to look round at Lady Lydiard and the steward while they were both engaged in writing, returned suddenly to the table as if he had been struck by a new idea.
“Is there a third pen?” he asked. “Why shouldn’t I write a line at once to Hardyman, aunt? The sooner you have his opinion about Tommie the better—don’t you think so?”
Lady Lydiard pointed to the pen tray, with a smile. To show consideration for her dog was to seize irresistibly on the high-road to her favor. Felix set to work on his letter, in a large scrambling handwriting, with plenty of ink and a noisy pen. “I declare we are like clerks in an office,” he remarked, in his cheery way. “All with our noses to the paper, writing as if we lived by it! Here, Moody, let one of the servants take this at once to Mr. Hardyman’s.”
The messenger was despatched. Robert returned, and waited near his mistress, with the directed envelope in his hand. Felix sauntered back slowly towards the picture-gallery, for the third time. In a moment more Lady Lydiard finished her letter, and folded up the bank-note in it. She had just taken the directed envelope from Moody, and had just placed the letter inside it, when a scream from the inner room, in which Isabel was nursing the sick dog, startled everybody. “My Lady! my Lady!” cried the girl, distractedly, “Tommie is in a fit? Tommie is dying!”
Lady Lydiard dropped the unclosed envelope on the table, and ran—yes, short as she was and fat as she was, ran—into the inner room. The two men, left together, looked at each other.
“Moody,” said Felix, in his lazily-cynical way, “do you think if you or I were in a fit that her Ladyship would run? Bah! these are the things that shake one’s faith in human nature. I feel infernally seedy. That cursed Channel passage—I tremble in my inmost stomach when I think of it. Get me something, Moody.”
“What shall I send you, sir?” Moody asked coldly.
“Some dry curacoa and a biscuit. And let it be brought to me in the picture-gallery. Damn the dog! I’ll go and look at Hobbema.”
This time he succeeded in reaching the archway, and disappeared behind the curtains of the picture-gallery.
CHAPTER IV.
LEFT alone in the drawing-room, Moody looked at the unfastened envelope on the table.
Considering the value of the inclosure, might he feel justified in wetting the gum and securing the envelope for safety’s sake? After thinking it over, Moody decided that he was not justified in meddling with the letter. On reflection, her Ladyship might have changes to make in it or might have a postscript to add to what she had already written. Apart too, from these considerations, was it reasonable to act as if Lady Lydiard’s house was a hotel, perpetually open to the intrusion of strangers? Objects worth twice five hundred pounds in the aggregate were scattered about on the tables and in the unlocked cabinets all round him. Moody withdrew, without further hesitation, to order the light restorative prescribed for himself by Mr. Sweetsir.
The footman who took the curacoa into the picture gallery found Felix recumbent on a sofa, admiring the famous Hobbema.
“Don’t interrupt me,” he said peevishly, catching the servant in the act of staring at him. “Put down the bottle and go!” Forbidden to look at Mr. Sweetsir, the man’s eyes as he left the gallery turned wonderingly towards the famous landscape. And what did he see? He saw one towering big cloud in the sky that threatened rain, two withered mahogany-colored trees sorely in want of rain, a muddy road greatly the worse for rain, and a vagabond boy running home who was afraid of the rain. That was the picture, to the footman’s eye. He took a gloomy view of the state of Mr. Sweetsir’s brains on his return to the servants’ hall. “A slate loose, poor devil!” That was the footman’s report of the brilliant Felix.
Immediately on the servant’s departure, the silence in the picture-gallery was broken by voices penetrating into it from the drawing-room. Felix rose to a sitting position on the sofa. He had recognized the voice of Alfred Hardyman saying, “Don’t disturb Lady Lydiard,” and the voice of Moody answering, “I will just knock at the door of her Ladyship’s room, sir; you will find Mr. Sweetsir in the picture-gallery.”
The curtains over the archway parted, and disclosed the figure of a tall man, with a closely cropped head set a little stiffly on his shoulders. The immovable gravity of face and manner which every Englishman seems to acquire who lives constantly in the society of horses, was the gravity which this gentleman displayed as he entered the picture-gallery. He was a finely made, sinewy man, with clearly cut, regular features. If he had not been affected with horses on the brain he would doubtless have been personally popular with the women. As it was, the serene and hippic gloom of the handsome horse-breeder daunted the daughters of Eve, and they failed to make up their minds about the exact value of him, socially considered. Alfred Hardyman was nevertheless a remarkable man in his way. He had been offered the customary alternatives submitted to the younger sons of the nobility—the Church or the diplomatic service—and had refused the one and the other. “I like horses,” he said, “and I mean to get my living out of them. Don’t talk to me about my position in the world. Talk to my eldest brother, who gets the money and the title.” Starting in life with these sensible views, and with a small capital of five thousand pounds, Hardyman took his own place in the sphere that was fitted for him. At the period of this narrative he was already a rich man, and one of the greatest authorities on horse-breeding in England. His prosperity made no change in him. He was always the same grave, quiet, obstinately resolute man—true to the few friends whom he admitted to his intimacy, and sincere to a fault in the expression of his feelings among persons whom he distrusted or disliked. As he entered the picture-gallery and paused for a moment looking at Felix on the sofa, his large, cold, steady gray eyes rested on the little man with an indifference that just verged on contempt. Felix, on the other hand, sprang to his feet with alert politeness and greeted his friend with exuberant cordiality.
“Dear old boy! This is so good of you,” he began. “I feel it—I do assure you I feel it!”
“You needn’t trouble yourself to feel it,” was the quietly-ungracious answer. “Lady Lydiard brings me here. I come to see the house—and the dog.” He looked round the gallery in his gravely attentive way. “I don’t understand pictures,” he remarked resignedly. “I shall go back to the drawing-room.”
After a moment’s consideration, Felix followed him into the drawing-room, with the air of a man who was determined not to be repelled.
“Well?” asked Hardyman. “What is it?”
“About that matter?” Felix said, inquiringly.
“What matter?”
“Oh,
