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If his work was not obviously stamped with the hall- mark of genius, at any rate it was remarkable for its choice of an unusual and unvarying theme. His pictures always represented some well-known street or public place in London, fallen into decay and denuded of its human population, in the place of which there roamed a wild fauna, which, from its wealth of exotic species, must have originally escaped from Zoological Gardens and travelling beast shows. “Giraffes drinking at the fountain pools, Trafalgar Square,” was one of the most notable and characteristic of his studies, while even more sensational was the gruesome picture of “Vultures attacking dying camel in Upper Berkeley Street.” There were also photographs of the large canvas on which he had been engaged for some months, and which he was now endeavouring to sell to some enterprising dealer or adventurous amateur. The subject was “Hyaenas asleep in Euston Station,” a composition that left nothing to be desired in the way of suggesting unfathomed depths of desolation.

“Of course it may be immensely clever, it may be something epoch-making in the realm of art,” said Sylvia Strubble to her own particular circle of listeners, “but, on the other hand, it may be merely mad. One mustn’t pay too much attention to the commercial aspect of the case, of course, but still, if some dealer would make a bid for that hyaena picture, or even for some of the sketches, we should know better how to place the man and his work.”

“We may all be cursing ourselves one of these days,” said Mrs. Nougat-Jones, “for not having bought up his entire portfolio of sketches. At the same time, when there is so much real talent going about, one does not feel like planking down ten shillings for what looks like a bit of whimsical oddity. Now that picture that he showed us last week, ‘Sand-grouse roosting on the Albert Memorial,’ was very impressive, and of course I could see there was good workmanship in it and breadth of treatment; but it didn’t in the least convey the Albert Memorial to me, and Sir James Beanquest tells me that sand-grouse don’t roost, they sleep on the ground.”

Whatever talent or genius the Pomeranian artist might possess, it certainly failed to receive commercial sanction. The portfolio remained bulky with unsold sketches, and the “Euston Siesta,” as the wits of the Nuremberg nicknamed the large canvas, was still in the market. The outward and visible signs of financial embarrassment began to be noticeable; the half-bottle of cheap claret at dinner-time gave way to a small glass of lager, and this in turn was displaced by water. The one- and-sixpenny set dinner receded from an everyday event to a Sunday extravagance; on ordinary days the artist contented himself with a sevenpenny omelette and some bread and cheese, and there were evenings when he did not put in an appearance at all. On the rare occasions when he spoke of his own affairs it was observed that he began to talk more about Pomerania and less about the great world of art.

“It is a busy time there now with us,” he said wistfully; “the schwines are driven out into the fields after harvest, and must be looked after. I could be helping to look after if I was there. Here it is difficult to live; art is not appreciate.”

“Why don’t you go home on a visit?” some one asked tactfully.

“Ah, it cost money! There is the ship passage to Stolpmunde, and there is money that I owe at my lodgings. Even here I owe a few schillings. If I could sell some of my sketches – “

“Perhaps,” suggested Mrs. Nougat-Jones, “if you were to offer them for a little less, some of us would be glad to buy a few. Ten shillings is always a consideration, you know, to people who are not over well off. Perhaps if you were to ask six or seven shillings – “