The cabin was not a very large one, and though the lamp that swung from the ceiling gave forth but a dim light, yet it was enough to enable me to see very clearly all that there was to see. At the first blush, indeed, there seemed to be nothing out of the way to witness. At the further end of the cabin two men were sitting at a table together, with a chart before them. Nearer to me, and in front of the men, a woman stood, and held up for their inspection a piece of needlework. The two men were Cornelys Jensen and William Hatchett; the woman was Barbara Hatchett. It might have made a very pleasing example of domestic peace but for one queer fact, which notably altered its character. The needlework at which women are wont to labour is nine times out of ten white work or brightly-coloured work. Women are like the best kind of birds, and love snowy plumage or feathers that are bravely tinted. But the work with which Barbara Hatchett was occupied was neither white nor coloured, but black--the deepest, darkest black. Now there was no cause as yet, thank Heaven! for man or woman to mourn on board of the Royal Christopher, and there was no need for Mistress Barbara to deal with mourning. So I marvelled, but even as I marvelled I noted, as she shifted her position slightly and shook out the black stuff over her knees, that it was not all and only black. There was white work in it too, a kind of patch or pattern of white work in the midst which I could not make out, for the stuff was still bunched up in the woman's hands. But now, as I watched, I saw her shake it out over her knees for the others to view, and I saw that the thing she displayed was a large square of black worsted, and that in the centre were sewn some pieces of white material into a very curious semblance. For that semblance was none other than the likeness of a grinning human skull, with two cross-bones beneath it--just such an effigy as I had seen many times on the tombstones in the churchyard at Sendennis. [Illustration: "HELD UP FOR THEIR INSPECTION A PIECE OF NEEDLEWORK."] It was not, however, of the tombstones at Sendennis that I thought just then. No; that ugly image in the girl's fingers carried my fancy back to the place where I had first seen her--to the hostelry of the Skull and Spectacles--and I fancied somehow, I scarce knew why, that the work of Barbara's fingers had some connection with her father's inn. Only for a second or so did I think this, but in honest truth that was my first, my immediate belief, and it brought me no thought of fear, no thought of danger with it. I was only conscious of wondering vaguely to what service this sad piece of handicraft could be put, when suddenly, in a flash, my intelligence took fire, and I knew what was intended; and I felt my knees give way and my heart stand still with horror.