that's a wrong idea, I'm very glad. We'll have some tunes together after this, and perhaps Haigh and I may knock out an item or two that's fresh to you. But for the present, as you suggest—bjorn. I'll be with you on the sand there in nine seconds."

As for the bear, of course he didn't turn up, and we three and Se spent a particularly cold night in the open, with absolutely nothing to show far it. In this there was nothing surprising. It was quite in the ordinary way of business. Only Cospatric, who is at heart no sportsman, murmured, "Small potatoes."

It was not till a couple of days afterwards that we got on the subject of music again. We came at it this way: the cutter was going to work south and west again, and it was proposed that I should join her. "Don't go down in one of those beastly coasting steamers," said Cospatric. "They'll give you five sorts of cheese for breakfast, and poison you at all other meals. You'll live in an atmosphere of dried fish and engine-room oil, and you'll be driven half-mad by children who squall, and other children who rattle the saloon domino-box all through the watches. You'd much better come with me. I'll drop you at a steamer's port in the Channel somewhere some time. You aren't in a hurry. Come, and hear Haigh play again."

I said I preferred duets.

"All right, you shall hear the humble combined effort," said he; and then, after a good deal of pumping, I got more out of him as to whence sprang his powers.

"The thing's simple enough," he said. "I was fond of fiddling, and I stuck to it. I used to scrape at Cambridge, if you remember, as probably you don't, and had some goodish lessons there. Afterwards, when I got on the wander and took to pawning things, my spare shirt went frequently, but I always managed to stick to that little black box somehow. And I played on forecastle heads and on beaches and in sailors' lodgings ashore, and occasionally I got a week or so's lessons from a good man ashore; and then I heard concerts and good orchestras all up and down. And so, you see, I picked it up that way.... No, I don't play from paper much, but Haigh's a bit of a kindred spirit, and between us we evolve things. And now let's talk of something else—say, the ptarmigan prospects for next year; you'll be good on that."

Now I am fond of music—ordinary music, that is—and I can appreciate a good song or well-performed operas such as Carmen and the Yeomen of the Guard, or even a classical concert if it is not too long. In fact, I had always plumed myself on being what one calls "very tolerably musical." But these two were streets in advance of such mediocrity. To begin with, they had a strong contempt for most vocal efforts, considering them as merely a sop for the outside public. Orchestral music was their formula for the highest form of the art, and orchestral music they accordingly played, that queer creature Haigh blinking over the upright grand, and Cospatric behind him bringing sounds out of his violin such as I never heard amateur produce before, with a combined result that was always marvellous, and sometimes verged upon that abstract goal, perfection.

They seldom had a screed of notes before them. Either they knew the stuff by heart, or, what seemed more likely, there was some sympathetic link between them which kept both instruments unerringly to the theme. I could not find how it was done; I could only acknowledge the results.

It was by no means always within my powers to appreciate their work. Sometimes the charm of what they played was too esoteric for my understanding. The sounds were unmeaning to me; not infrequently they were absolutely discordant. But I had confidence enough in the superiority of their intellects over mine not to condemn, still less to scoff. At these times I held my tongue. Genius is not improved by irreverent criticism.

I spoke with Cospatric one day about keeping all these creative gifts to himself. Why did he not share them with the outside world?

He gave a bit of a shudder. "Don't suggest such an idea," he said. "It's my one sensitive place. All the rest have been hammered dull in my roamings. I must keep that as it is."

And then at another time: "You know I can't conceive of a sensitive man, be he musician or painter, or even writer of romance, who would put out his very best for an indiscriminate public to browse upon or trample over. He knows and feels the thing he has created to be a beautiful thing and an original thing, and he has been at much pains to arrive at it, although there were special items in his own constitution which helped him. And he can be sure that there are a large percentage of pigs in the public by whom his pearl will not be appreciated. Its shape and its colour are new to them; and not having come within the range of their limited vision before, therefore its building must be altogether wrong. But that is not the worst. Spoken babblings one might be deaf to; written stuff is sure to be cut out by a friend and posted for you to enjoy with your morning's coffee. Those infernal newspapers get hold of the thing you have made, and their verdict depends upon the individual taste of some anonymous 'we.' He may not like your sardines, and accordingly, though it does not therefore follow that sardines are unfit for human food, he proceeds to slate sardines with all his tricks of satire and argument, and to cover the maker and even the eater of sardines with ridicule."

He stopped then, and I asked if he had been catching it somewhere.

He laughed, "No, I've never had my name once in a paper that I know of; not even under the heading of Police Intelligence. I'm singularly uneager for fame. I'm only talking from what I've seen occasionally. That's been warning enough for me. It must sour a man to be jeered at in that sort of way, and, thanks, I prefer not to be soured. I've no superfluous sweetness."

All this may seem rather absurd, but I give it just to show what manner of a man Cospatric is when you come to know him intimately. No one from meeting him casually would guess that he had failings of this sort. In fact, you would take him for a very tough subject indeed, inured to hardship in the past, and liking hardship in the present for its own sake. As an instance: instead of taking his ugly cutter down coast by the inner passages, he must needs get out into the open water, which is at this time of year exceptionally unquiet, from sheer delight at getting kicked about. Indeed, when we picked up an equinoctial gale half-way across, and had our hands exceedingly full to keep the boat afloat, the man fairly revelled in the scene and the work; and what's more, that sleepy, straggling person Haigh did too. It wasn't in my line at all. I've not the smallest objection to getting cold and wet when there is a big elk or a good bag of grouse in question; that's different. But when one is perpetually half-drowned and frozen in a little tub of a sailing craft, I fail to see where the fun comes in. Still, in spite of the hard, rough time, I should have been sorry to have missed that hammering across the North Sea and the trip down Channel to queer old St. Malo. There was one strong redeeming feature—Cospatric's accounts of his hunting after the Raymond Lully inscription. He and I took one watch between us, and to the accompaniment of northern gale and northern spindrift, he yarned about a chase under southern skies for an object which I believe to be an absolutely unique one. He was one of the men who were scouring after that Recipe for making Diamonds lost to this world since the death of its original finder in 1315.

[Follows, an account of the contention for the blessed Raymond Lully's Recipe, as given from Michael Cospatric's own lips.]

CHAPTER IV.

MR. WEEMS AND HIS PURCHASE.

... Genoa no doubt has its drawbacks. Incessant rain, perennial stink, and big prices can go to make