Mr. Robinson was very glad he had waited and was delighted to see him and expressed regret that he hadn’t known in advance of his visit, so that he might have something to offer him. He sat down on the bed, vaguely expectant; he wondered what special purpose had brought the fiddler so far at that unnatural hour. Yet he spoke but the truth in saying he was glad to see him. Hyacinth had come upstairs in such a pain of desire to be alone with the revelation carried in his pocket that the sight of a guest had given him positive relief by postponing solitude. The place where he had put his letter seemed to throb against his side, yet he was thankful to his old friend for forcing him still to leave it so. “I’ve been looking at your books,” the fiddler said; “you’ve two or three exquisite specimens of your own. Oh yes, I recognise your work when I see it; there are always certain little finer touches. You’ve a manner, as who should say, like one of the masters. With such a hand and such feeling your future’s assured. You’ll make a fortune and become famous.” Mr. Vetch sat forward to sketch this vision; he rested his hands on his knees and looked very hard at his young host, as if to challenge him to dispute a statement so cheering and above all so authoritative. The effect of what Hyacinth saw in his face was to produce immediately the idea that the fiddler knew something, though there was no guessing how he could know it. The Poupins, for instance, had had no time to communicate with him, even granting them capable of that baseness—all inconceivable in spite of Hyacinth’s having seen them, less than an hour before, fall so much below their own standard. With this suspicion there rushed into his mind an intense determination to dissemble before his visitor to the last: he might imagine what he liked, but he should have no grain of satisfaction—or rather should have only that of being led to believe if possible that his suspicions were “rot.” Hyacinth glanced over the books he had taken down from the shelf and admitted that they were pleasing efforts and that so long as one didn’t become blind or maimed the ability to produce that sort of thing was a legitimate source of confidence. Then suddenly, as they continued simply to look at each other, the pressure of the old man’s curiosity, the expression of his probing, beseeching eyes, which had become strange and tragic in these latter times and completely changed their character, grew so intolerable that to defend himself our hero took the aggressive and asked him boldly if it were simply to look at his work, of which he had half-a-dozen specimens in Lomax Place, that he had made a nocturnal pilgrimage. “My dear old friend, you’ve something on your mind—some fantastic fear, some extremely erroneous _idée fixe_. Why has it taken you to-night in particular? Whatever it is it has brought you here at an unnatural hour under some impulse you don’t or can’t name.