Edward Beaumont and Sam Storth, though both solicitors, and partners in the practice of a much and perhaps undeservedly abused profession, were in almost every particular in which men may be compared or contrasted as dissimilar as two men may well be. Beaumont was a native of Huddersfield, and his family connections with the town and district were numerous and intricate. The Beaumonts of that vicinity are a numerous progeny, and may be found in every calling, in every trade and every craft. The Squire of White Meadows is a Beaumont, and traces an unbroken line of descent from one of the most intrepid of the Crusaders, whose effigy may be seen to this day in the small, time-worn church on the ancestral domain. The Beaumonts, or de Bellomontes, were, aforetime, lords of the manor of Huddersfield itself, but that position passed from them many centuries ago. Whether or no our Edward Beaumont was of the Beaumonts of White Meadows is a matter which Edward himself affected to regard as of absolutely no importance. His father had been, like himself, a solicitor, and had founded the present firm of Beaumont and Storth. His grandfather had been a cloth manufacturer, and as to his great grandfather, Edward declared that he, too, had been either a cloth manufacturer of the smallest, or, more likely, a handloom weaver of a saving disposition. As in Huddersfield it is quite exceptional for anyone to be able to refer to a grandfather at all, Edward could very well afford to affect indifference on the score of his great grand-sire’s status. If looks go for anything Beaumont might certainly have pretended to aristocratic lineage. He was tall above the ordinary, and well proportioned, his frame well-knit and active, his features regular, his hair abundant, of the hue of the raven, and with the natural sheen of perfect health. His eyes, well shaped, were dark and full of fire and expression. He had a well-formed mouth, mobile lips, of that fullness that may betoken either the orator, the poet, or the sensualist, a rounded, dimpled chin, the long White hand commonly supposed to be indicative of gentle birth. But the tips of the fingers were square rather than finely pointed, a trait which a palmist had assured him indicated stubborness of character or resoluteness of will, but which Edward asserted more probably suggested that one of his female ancestors had been engaged in the manual exercise of “twisting,” one of the many processes of cloth manufacture, and one eminently calculated to stub the fingers of the artist.