"Mind? No, certainly I don't mind. Anything in the world to get at a clue to this thing, Mr. Headland, anything. Do let us go at once." Cleek led the way from the room. Halfway down the stairs, however, he excused himself on the plea of having forgotten his magnifying glass, and ran back to get it. Two minutes later he rejoined them in the little drawing-room, where the growling Captain was still demanding the whole time and attention of his daughter, and, the motor being ready, the three men walked out, got into it, and were whisked away to the house which once had been the home of the vanished George Carboys. It proved to be a small, isolated brick house in very bad condition, standing in an out-of-the-way road somewhere between Putney and Wimbledon. It stood somewhat back from the road, in the midst of a little patch of ground abounding in privet and laurel bushes, and it was evident that its cheapness had been its chief attraction to the two men who had rented it, although, on entering, it was found to possess at the back a sort of extension, with top and side lights, which must have appealed to Van Nant's need of something in the nature of a studio. At all events, he had converted it into a very respectable apology for one; and Cleek was not a little surprised by what it contained. Rich stuffs, bits of tapestry, Persian draperies, Arabian prayer-mats--relics of his other and better days and of his Oriental wanderings--hung on the walls and ornamented the floor; his rejected pictures and his unsold statues, many of them life-sized and all of clay, coated with a lustreless paint to make them look like marble, were disposed about the place with an eye to artistic effect, and near to an angle, where stood (on a pedestal, half concealed, half revealed by artistically arranged draperies) the life-size figure of a Roman senator, in toga and sandals, there was the one untidy spot, the one utterly inartistic thing the room contained. It was the crude, half-finished shape of a recumbent female figure, of large proportions and abominable modelling, stretched out at full length upon a long, low, trestle-supported "sculptor's staging," on which also lay Van Nant's modelling tools and his clay-stained working blouse. Cleek looked at the huge unnatural thing--out of drawing, anatomically wrong in many particulars--and felt like quoting Angelo's famous remark anent his master Lorenzo's faun: "What a pity to have spoilt so much expensive material," and Van Nant, observing, waved his hand toward it.