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the path, I came on her quite suddenly, perched on her little camp-stool in the shadow of the hedge, with the open sketching-book on her knees, working away with an industry and concentration that seemed to rebuke my own idleness. Indeed, she was so much engrossed with her occupation that she did not notice me until I stepped off the path and approached with the knife in my hand. "I wonder," said I, holding it out and raising my cap, "if this happens to be your property. I picked it up just now among the nettles near the barn."

      She took the knife from me and looked at it inquisitively. "No," she replied, "it isn't mine, but I think I know whose it is. I suspect it belongs to an artist who has been doing a good deal of work about the Heath. You may have seen him."

      "I have seen several artists working about here during the summer. What was this one like?"

      "Well," she answered with a smile, "he was like an artist. Very much like. Quite the orthodox get up. Wide brimmed hat, rather long hair and a ragged beard. And he wore sketching-spectacles—half-moon-shaped things, you know—and kid gloves—which were not quite so orthodox."

      "Very inconvenient, I should think."

      "Not so very. I work in gloves myself in the cold weather or if the midges are very troublesome. You soon get used to the feel of them; and the man I am speaking of wouldn't find them in the way at all because he works almost entirely with painting-knives. That is what made me think that this knife was probably his. He had several, I know, and very skilfully he used them, too."

      "You have seen his work, then?"

      "Well," she admitted, "I'm afraid I descended once or twice to play the 'snooper'. You see, his method of handling interested me."

      "May I ask what a 'snooper' is?" I enquired.

      "Don't you know? It's a student's slang name for the kind of person who makes some transparent pretext for coming off the path and passing behind you to get a look at your picture by false pretences."

      For an instant there flashed into my mind the suspicion that she was administering a quiet "backhander", and I rejoined hastily: "I hope you are not including me in the genus 'snooper'."

      She laughed softly. "It did sound rather like it. But I'll give you the benefit of the doubt in consideration of your finding the knife—which you had better keep in trust for the owner."

      "Won't you keep it? You know the probable owner by sight and I don't; and meanwhile you might experiment with it yourself."

      "Very well," she replied, dropping it into her brush-tray, "I'll keep it for the present at any rate."

      There was a brief pause, and then I ventured to remark, "That looks a very promising sketch of yours. And how well the subject comes."

      "I'm glad you like it," she replied, quite simply, viewing her work with her head on one side. "I want it to turn out well, because it's a commission, and commissions for small-oil paintings are rare and precious."

      "Do you find small oil pictures very difficult to dispose of?" I asked.

      "Not difficult. Impossible, as a rule. But I don't try now. I copy my oil sketches in water-colour, with modifications to suit the market."

      Again there was a pause; and, as her brush wandered towards the palette, it occurred to me that I had stayed as long as good manners permitted. Accordingly, I raised my cap, and, having expressed the hope that I had not greatly hindered her, prepared to move away. "Oh, not at all," she answered; "and thank you for the knife, though it isn't mine—or, at any rate, wasn't. Good-morning."

      With this and a pleasant smile and a little nod, she dismissed me; and once more I went my idle and meditative way.

      It had been quite a pleasant little adventure. There is always something rather interesting in making the acquaintance of a person whom one has known some time by sight but who is otherwise an unknown quantity. The voice, the manner, and the little revelations of character, which confirm or contradict previous impressions, are watched with interest as they develop themselves and fill in, one by one, the blank spaces of the total personality. I had, as I have said, often met this industrious maiden in my walks and had formed the opinion that she looked a rather nice girl; an opinion that was probably influenced by her unusual good looks and graceful carriage. And a rather nice girl she had turned out to be; very dignified and self-possessed, but quite simple and frank—though, to be sure, her gracious reception of me had probably been due to my sketch-book; she had taken me for a kindred spirit. She had a pleasant voice and a faultless accent, with just a hint of the fine lady in her manner; but I liked her none the less for that. And her name was a pretty name, too, if I had guessed it correctly; for, on the inside of the lid of her box, which was partly uncovered by the upright panel, I had read the letters "Syl". The panel hid the rest, but the name could hardly be other than Sylvia; and what more charming and appropriate name could be bestowed upon a comely young lady who spent her days amidst the woods and fields of my beloved Hampstead?

      Regaling myself with this somewhat small beer, I sauntered on along the grassy lane, between hedgerows that in the summer had been spangled with wild roses and that were now gay with the big, oval berries, sleek and glossy and scarlet, like overgrown beads of red coral; away, across the fields to Golder's Green and thence by Millfield Lane, back to my lodgings at Gospel Oak, and to my landlady, Mrs. Blunt, who had a few plaintive words to say respecting the disastrous effects of unpunctuality—and the resulting prolonged heat—on mutton cutlets and fried potatoes.

      It had been an idle morning and apparently void of significant events; but yet, when I look back on it, I see a definite thread of causation running through its simple happenings, and I realize that, all unthinking, I had strung on one more bead to the chaplet of my destiny.

      IV. Septimus Maddock, Deceased

       Table of Contents

      It was getting well on into November when I strolled one afternoon into the hospital museum, not with any specific object but rather vaguely in search of something to do. During the last few days I had developed a slight revival of industry—which had coincided, oddly enough, with a marked deterioration of the weather—and, pathology being my weakest point, the museum had seemed to call me (though not very loudly, I fear) to browse amongst its multitudinous jars and dry preparations.

      There was only one person in the great room; but he was a very important person; being none other than our lecturer on Medical Jurisprudence, Dr. John Thorndyke. He was seated at a small table whereon was set out a collection of jars and a number of large photographs, of which he appeared to be making a catalogue; but intent as he was on his occupation, he looked up as I entered and greeted me with a genial smile. "What do you think of my little collection, Jardine?" he asked, as I approached deferentially. Before replying, I ran a vaguely enquiring eye over the group of objects on the table and was mighty little enlightened thereby. It was certainly a queer collection. There was a flat jar which contained a series of five differently-coloured mice, another with a similar series of three rats, a human foot, a hand—manifestly deformed—a series of four fowls' heads and a number of photographs of plants. "It looks," I replied, at length, "like what the auctioneers would call a miscellaneous lot."

      "Yes," Dr. Thorndyke agreed, "it is a miscellaneous collection in a sense. But there is a connecting idea. It illustrates certain phenomena of inheritance which were discovered and described by Mendel."

      "Mendel!" I exclaimed. "Who is he? I never heard of him."

      "I daresay not." said Thorndyke, "though he published his results before you were born. But the importance of his discoveries is only now beginning to be appreciated."

      "I suppose," said I, "the subject is too large and complex for a short explanation to be possible."

      "The subject is a large one, of course," he replied; "but, put in a nutshell, Mendel's great discovery amounts to this; that, whereas certain characters are inherited only partially and fade off gradually in successive generations, certain other characters are inherited completely and pass

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