"It's a mystery--a terrible mystery!" I exclaimed, jumping up and commencing to pace the room. I walked that room for over an hour, and was only aroused from my reverie by the announcement of a servant that supper was served. I ate my meal in silence, and the deliberate mouthfuls I took, and my more than ordinarily methodical manner of eating, must have told my wife that to disturb my present inward argument would have been disastrous to the immediate prospects of domestic harmony. I had come to a conclusion. There is nothing like science and its accompanying occupations for balancing a man's brain. A game of chess is recreative concentration. So the study of science was with me, whilst physic was my profession. Scientific research and the weighing of Nature's problems had steadied my thoughts and cooled my actions. It was a settled thing with me that poor Huntingdon had been murdered. By whom? Scientific investigation had transformed me into a calculating individual. Every action, to me, could be proved as a proposition in Euclid or an algebraical problem. I therefore said nothing about my startling discovery, and decided to wait the possibility of a further suggestion coming in my way, and "proving it." I suppose it was the deep interest I took in all matters concerning art which brought so many artist-patients to my consulting room. Six months had passed since the fatal 11th October, and the public were loudly expressing their approval of a marvellously impressive bit of painting by Wilfred Colensoe, which was the feature--and very justly so--of one of the early spring exhibitions. It was the picture of a duel--a very realistic canvas indeed. The young man--lying bleeding on the ground--almost told the story of the attempted avenge of an action towards someone dear to him on the part of an elderly _roue_, whose still-smoking revolver was in his hand. Colensoe came to see me one morning. He was a remarkably handsome man, classically featured, with hair picturesquely scattered with streaks of silver. "Done up, eh?" I said to him. "Done up is the word," he answered. "You've been doing too much," I said, looking into his grey eyes as I held his hand a moment. "You must cease work for a time. Get away from your easel, go abroad, and forget to take your brushes with you. Go anywhere, a hundred miles from a retail colourman's." [Illustration: "'YOU'VE BEEN DOING TOO MUCH,' I SAID."] "My dear doctor," he answered, "your prescription is too strong. You forget I am an artist. It is like taking a man with a dying thirst to a fountain of water and telling him he mustn't drink. I can't leave my work." "When I tell you that it is either a case of your leaving your work or your work leaving you, my remark may not be very original, but it is undeniably true. Do you sleep well?" "I can't say," was his reply. "When I fall asleep at night I never wake until my hour for rising. But I am more tired in the morning than when I turned in over-night."