St. John's Park and the streets fronting upon it was once a fashionable quarter of the town. Now a hideous railway freight station occupies the former park area, and the old-time residences, with their curiously wrought-iron stoop-railings and graceful fan-lights, have been degraded to the base uses of a tenement population. Only the quaint chapel of St. John has survived the slow process of contamination, a single rock rising above the sordid tide. The coach stopped before one of the most pretentious of the old-time houses-now, alas! one of the dirtiest and most dilapidated. We were directed to the upper story, Indiman leading the way. A single attic chamber, bearing the marks of the cruelest poverty, a stove, an artist's easel, a pallet spread directly on the grimy floor, and upon it a man in the last stage of consumption. He glanced up at Indiman and waved his hand feebly. He tried to speak, but his voice died away in his throat; Indiman knelt by his side to catch the words. "It is cold--shut stove door--there's enough now to last me out." Indiman went to the stove, where a little fire was smouldering; he shut the door and turned on the draught. The flame leaped up instantly, the crazy smoke-pipe rattling as it expanded under the influence of the heat. Indiman turned again to the dying man. "You know well enough why I have come," he said, slowly. "I have in my possession one of your copies of the 'Red Duchess.' Tell me the truth." There was no audible response from the bloodless lips, but the dark eyes were full of ironic laughter. Then they closed again. "Richmond!" said Indiman, sharply. "Richmond!" I had been standing by the door, but now I came forward and joined Indiman. "Gone!" he said, briefly. "Gone, and taken his secret with him. Only, what WAS the secret?" We tried to argue it out on the way up-town, but with only indifferent success. Granted the premise that Richmond had actually stolen the "Red Duchess," what were his motives in multiplying copies of the picture, a proceeding that must infallibly end in the detection of his crime? And the supreme question--what had finally become of the original? My theory was simple enough. The man was mentally unbalanced, the result of brooding over his own failure in art. He had stolen the picture, possessed with the idea that by study of it he should discover the secret of its power. He had made copies of the picture and sold them in order to supply himself with the necessities of life. At the end, knowing himself to be dying, he had caused the original to be returned to the gallery at Petersburg, a contribution to the conscience fund.