The evening was exquisitely warm, and after dinner we pulled out a couple of basket-chairs on to the gravel by the front door, and sat for an hour or so, while the night deepened in throbs of gathering darkness. The moon was not risen and the ring of pines cut off much of the pale starlight, so that when we went in, allured by the shining of the lamp in the sitting-room, it was curiously dark for a clear night in May. And at that moment of stepping from the darkness into the cheerfulness of the lighted house, I had a sudden sensation, to which, during the next fortnight, I became almost accustomed, of there being something unseen and unheard and dreadful near me. In spite of the warmth, I felt myself shiver, and concluded instantly that I had sat out-of-doors long enough, and without mentioning it to Jack, followed him into the smaller sitting-room in which we had scarcely yet set foot. It like the hall was oak-panelled, and in the panels hung some half-dozen of water-colour sketches, which we examined, idly at first, and then with growing interest, for they were executed with extraordinary finish and delicacy, and each represented some aspect of the house or garden. Here you looked up the gap in the fir-trees into a crimson sunset; here the garden, trim and carefully tended, dozed beneath some languid summer noon; here an angry wreath of storm-cloud brooded over the meadow where the trout-stream ran grey and leaden below a threatening sky, while another, the most careful and arresting of all, was a study of the brick-kiln. In this, alone of them all, was there a human figure; a man, dressed in grey, peered into the open door from which issued a fierce red glow. The figure was painted with miniature-like elaboration; the face was in profile, and represented a youngish man, clean-shaven with a long aquiline nose and singularly square chin. The sketch was long and narrow in shape, and the chimney of the kiln appeared against a dark sky. From it there issued a thin streamer of grey smoke. Jack looked at this with attention. “What a horrible picture,” he said, “and how beautifully painted. I feel as if it meant something, as if it was a representation of something that happened, not a mere sketch. By Jove!----” He broke off suddenly, and went in turn to each of the other pictures. “That’s a queer thing,” he said. “See if you notice what I mean.” With the brick-kiln rather vividly impressed on my mind, it was not difficult to see what he had noticed. In each of the pictures appeared the brick-kiln, chimney and all, now seen faintly between trees, now in full view, and in each the chimney was smoking. “And the odd part is that from the garden side, you can’t really see the kiln at all,” observed Jack, “it’s hidden by the house, and yet the artist F. A., as I see by his signature, puts it in just the same.” “What do you make of that?” I asked. “Nothing. I suppose he had a fancy for brick-kilns. Let’s have a game of picquet.”