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“When am I to be murdered?” I asked. “And how is it to be done? Poison?”

“I’m not joking,” Rothsay answered. “You are infatuated about your housekeeper. When you spoke of her legacy, did you notice her eyes.”

“Yes.”

“Did nothing strike you?”

“It struck me that they were unusually well preserved eyes for a woman of her age.”

The appearance of the valet and the footman put an end to this idle talk. The will was executed, and locked up. Our conversation turned on Rothsay’s travels by sea. The cruise had been in every way successful. The matchless shores of the Mediterranean defied description; the sailing of the famous yacht had proved to be worthy of her reputation; and, to crown all, Rothsay had come back to England, in a fair way, for the first time in his life, of making money.

“I have discovered a treasure,” he announced.

“It was a dirty little modern picture, picked up in a by-street at Palermo. It is a Virgin and Child, by Guido.”

On further explanation it appeared that the picture exposed for sale was painted on copper. Noticing the contrast between the rare material and the wretchedly bad painting that covered it, Rothsay had called t o mind some of the well-known stories of valuable works of art that had been painted over for purposes of disguise. The price asked for the picture amounted to little more than the value of the metal. Rothsay bought it. His knowledge of chemistry enabled him to put his suspicion successfully to the test; and one of the guests on board the yacht–a famous French artist–had declared his conviction that the picture now revealed to view was a genuine work by Guido. Such an opinion as this convinced me that it would be worth while to submit my friend’s discovery to the judgment of other experts. Consulted independently, these critics confirmed the view taken by the celebrated personage who had first seen the work. This result having been obtained, Rothsay asked my advice next on the question of selling his picture. I at once thought of my uncle. An undoubted work by Guido would surely be an acquisition to his gallery. I had only (in accordance with his own request) to let him know that my friend had returned to England. We might take the picture with us, when we received our invitation to Lord Lepel’s house.

FOURTH EPOCH.

My uncle’s answer arrived by return of post. Other engagements obliged him to defer receiving us for a month. At the end of that time, we were cordially invited to visit him, and to stay as long as we liked.

In the interval that now passed, other events occurred–still of the trifling kind.

One afternoon, just as I was thinking of taking my customary ride in the park, the servant appeared charged with a basket of flowers, and with a message from Mrs. Rymer, requesting me to honor her by accepting a little offering from her daughter. Hearing that she was then waiting in the hall, I told the man to show her in. Susan (as I ought to have already mentioned) had sent her exercises to me regularly every week. In returning them corrected, I had once or twice added a word of well-deserved approval. The offering of flowers was evidently intended to express my pupil’s grateful sense of the interest taken in her by her teacher.

I had no reason, this time, to suppose that Mrs. Rymer entertained an unfriendly feeling toward me. At the first words of greeting that passed between us I perceived a change in her manner, which ran in the opposite extreme. She overwhelmed me with the most elaborate demonstrations of politeness and respect; dwelling on her gratitude for my kindness in receiving her, and on her pride at seeing her daughter’s flowers on my table, until I made a resolute effort to stop her by asking (as if it was actually a matter of importance to me!) whether she was in London on business or on pleasure.