* * * * * "How did I know that the body was inside the statue?" said Cleek, answering Narkom's query, as they drove back in the red limousine toward London and Clarges Street. "Well, as a matter of fact, I never did know for certain until he began to examine the thing to-night. From the first I felt sure he was at the bottom of the affair, that he had lured Carboys back to the house, and murdered him; but it puzzled me to think what could possibly have been done with the body. I felt pretty certain, however, when I saw that monstrous statue." "Yes, but why?" "My dear Mr. Narkom, you ought not to ask that question. Did it not strike you as odd that a man who was torn with grief over the disappearance of a loved friend should think of modelling any sort of a statue on that very first day, much less such an inartistic one as that? Consider: the man has never been a first-class sculptor, it is true, but he knew the rudiments of his art, he had turned out some fairly presentable work; and that nymph was as abominably conceived and as abominably executed as if it had been the work of a raw beginner. Then there was another suspicious circumstance. Modelling clay is not exactly as cheap as dirt, Mr. Narkom. Why, then, should this man, who was confessedly as poor as the proverbial church mouse, plunge into the wild extravagance of buying half a ton of it--and at such a time? Those are the things that brought the suspicion into my mind; the certainty, however, had to be brought about beyond dispute before I could act. "I knew that George Carboys had returned to that studio by the dry marks of muddy footprints, that were nothing like the shape of Van Nant's, which I found on the boards of the verandah and on the carpet under one of the windows; I knew, too, that it was Van Nant who had sent that pigeon. You remember when I excused myself and went back on the pretext of having forgotten my magnifying glass the other day? I did so for the purpose of looking at that fifth pigeon. I had observed something on its breast feathers which I thought, at first glance, was dry mud, as though it had fallen or brushed against something muddy in its flight. As we descended the stairs I observed that there was a similar mark on Van Nant's sleeve. I brushed against him and scraped off a fleck with my finger-nails. It was the dust of dried modelling clay. That on the pigeon's breast proved to be the same substance. I knew then that the hands of the person who liberated that pigeon were the hands of someone who was engaged in modelling something or handling the clay of the modeller, and--the inference was clear.