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Rhoda Fleming’s was a most attractively arranged suite, with a large studio commanding the north light and having a ceiling twice as high as the ordinary room, which allowed of the other rooms being, as it were, on two floors, since their ceilings were of ordinary height. On every side, as we entered, we could see works of art in tasteful profusion.

Since the removal of the body of the beautiful but unfortunate young art student, no one had been left there, except the maid, Leila. Leila was herself a very pretty girl, one of those who need neither fine clothes nor expensive jewels to attract attention. In fact she had neither. I noticed that she was neatly and tastefully dressed, however, and wore a plain gold band on the ring finger of her left hand. She seemed to be heartbroken over the death of her mistress, but how much of it was genuine, I could not say, though I am frank to admit that even before I saw her I had determined that she was worth watching.

“Show me just how you discovered Miss Fleming,” asked Kennedy of Dr. Blythe, getting down to work immediately.

“Why,” he replied, “when I got here she was lying half across that divan, as if she had fallen there, fainting. Each time a little table had been set for a light dinner and the dinner had been eaten. The remains were on the table. And,” Blythe added significantly, “each time there was a place set for another person. That person was gone.”

Kennedy had turned inquiringly to Leila.

“I was engaged only for the day,” she answered modestly. “Evenings when Mademoiselle had a little party she would often pay me extra to come back again and clean up. She liked to prepare little chafing-dish dinners–but disliked the cleaning.”

Dr. Blythe nodded significantly, as though that accounted for the reason why it had seemed to be Leila who had called him in both times.

Kennedy and I had found the little pantry closet in the kitchenette where the maid kept the few housekeeping utensils. He took a hasty inventory of the slender stock, among which, for some reason, I noted a bottle of a well-known brand of meat sauce, one of those dark-colored appetizers, with a heavy, burnt-grain odor.

Craig’s next move was to ransack the little escritoire in the corner of the studio room itself. That was the work of but a few moments and resulted in his finding a packet of letters in the single drawer.

He glanced over them hastily. Several of an intimately personal nature were signed, “Arnold Faber.” Faber, I knew, was a young art collector, very wealthy and something more than a mere dilettante. Other letters were of business dealings with well-known Fifth Avenue art galleries of Pierre Jacot & Cie., quite natural in view of Miss Fleming’s long residence in France.

The letters had scarcely been replaced when the door of the studio opened and I caught sight of a tastefully gowned young woman, quite apparently a foreigner acclimated to New York.

“Oh, I beg pardon,” she apologized. “I heard voices and thought perhaps it was some of Rhoda’s relatives from the West and that I could do something.”

“Good-evening, Miss Tourville,” greeted Dr. Blythe, who was evidently well-known to this colony of artists. A moment later he introduced us, “This, by the way, is Miss Rita Tourville, an intimate friend of Miss Fleming, who has the studio above.”

We bowed, exchanged the conventional remarks that such a tragedy made necessary, and Rita Tourville excused herself. Somehow or other, however, I could not resist the impression that she had come in purposely to see what was going on.

On our way out, after promising Dr. Blythe to meet him later in the night at the office of the Coroner, Kennedy, instead of going directly to the street, descended to the basement of the apartment and sought the janitor, who lived there.