A painter and the son of a painter, Philip Trent had while yet in his twenties achieved some reputation within the world of English art. Moreover, his pictures sold. An original, forcible talent and a habit of leisurely but continuous working, broken by fits of strong creative enthusiasm, were at the bottom of it. His father’s name had helped; a patrimony large enough to relieve him of the perilous imputation of being a struggling man had certainly not hindered. But his best aid to success had been an unconscious power of getting himself liked. Good spirits and a lively, humorous fancy will always be popular. Trent joined to these a genuine interest in others that gained him something deeper than popularity. His judgement of persons was penetrating, but its process was internal; no one felt on good behaviour with a man who seemed always to be enjoying himself. Whether he was in a mood for floods of nonsense or applying himself vigorously to a task, his face seldom lost its expression of contained vivacity. Apart from a sound knowledge of his art and its history, his culture was large and loose, dominated by a love of poetry. At thirty-two he had not yet passed the age of laughter and adventure. His rise to a celebrity a hundred times greater than his proper work had won for him came of a momentary impulse. One day he had taken up a newspaper to find it chiefly concerned with a crime of a sort curiously rare in our country—a murder done in a railway train. The circumstances were puzzling; two persons were under arrest upon suspicion. Trent, to whom an interest in such affairs was a new sensation, heard the thing discussed among his friends, and set himself in a purposeless mood to read up the accounts given in several journals. He became intrigued; his imagination began to work, in a manner strange to him, upon facts; an excitement took hold of him such as he had only known before in his bursts of art-inspiration or of personal adventure. At the end of the day he wrote and dispatched a long letter to the editor of the _Record_, which he chose only because it had contained the fullest and most intelligent version of the facts. In this letter he did very much what Poe had done in the case of the murder of Mary Rogers. With nothing but the newspapers to guide him, he drew attention to the significance of certain apparently negligible facts, and ranged the evidence in such a manner as to throw grave suspicion upon a man who had presented himself as a witness. Sir James Molloy had printed this letter in leaded type. The same evening he was able to announce in the Sun the arrest and full confession of the incriminated man.