Birds of Prey

by M. E. Braddon

"Old furniture and old pictures are apt to be suggestive," I said; "and perhaps while we are going over the house you may happen to recall some further particulars relating to the Haygarth family."

Mr. Wendover assented. He was evidently anxious to oblige me, and accepted my explanation of my business in perfect good faith. He conducted me from room to room, waiting patiently while I scrutinised the panelled walls and stared at the attenuated old furniture. I was determined to observe George Sheldon's advice to the very letter, though I had little hope of making any grand melodramatic discovery in the way of documents hidden in old cabinets, or mouldering behind sliding panels.

I asked the rector if he had ever found papers of any kind in forgotten nooks and corners of the house or the furniture. His reply was a decided negative. He had explored and investigated every inch of the old dwelling-place, and had found nothing.

So much for Sheldon's idea.

Mr. Wendover led me from basement to garret, encountering bouncing daughters and boys in brown holland wherever we went; and from basement to garret I found that all was barren. In the whole of the house there was but one object which arrested my attention, and the interest which that one object aroused in my mind had no relation to the Haygarthian fortune.

Over a high carved chimney-piece in one of the bedchambers there hung a little row of miniatures—old-fashioned oval miniatures, pale and faded—pictures of men and women with the powdered hair of the Georgian period, and the flowing full-bottomed wigs familiar to St. James's and Tunbridge-wells in the days of inoffensive Anne. There were in all seven miniatures, six of which specimens of antique portraiture were prim and starched and artificial of aspect. But the seventh was different in form and style: it was the picture of a girlish face looking out of a frame of loose unpowdered locks; a bright innocent face, with gray eyes and marked black eyebrows, pouting lips a little parted, and white teeth gleaming between lips of rosy red; such a face as one might fancy the inspiration of an old poet. I took the miniature gently from the little brass hook on which it hung, and stood for some time looking at the bright frank face.

It was the picture of Charlotte Halliday. Yes; I suppose there is a fatality in these things. It was one of those marvellous accidental resemblances which every man has met with in the course of his life. Here was this dead-and-gone beauty of the days of George the Second smiling upon me with the eyes and lips of Philip Sheldon's stepdaughter!

Or was it only a delusion of my own? Was my mind so steeped in the thought of that girl—was my heart so impressed by her beauty, that I could not look upon a fair woman's face without conjuring up her likeness in the pictured countenance? However this may be, I looked long and tenderly at the face which seemed to me to resemble the woman I love.

Of course I questioned the rector as to the original of this particular miniature. He could tell me nothing about it, except that he thought it was not one of the Caulfields or Haygarths. The man in the full-bottomed Queen-Anne wig was Jeremiah Caulfield, brewer, father of the pious Rebecca; the woman with the high powdered head was the pious Rebecca herself; the man in the George-the-Second wig was Matthew Haygarth. The other three were kindred of Rebecca's. But the wild-haired damsel was some unknown creature, for whose presence Mr. Wendover was unable to account.

I examined the frame of the miniature, and found that it opened at the back. Behind the ivory on which the portrait was painted there was a lock of dark hair incased in crystal; and on the inside of the case, which was of some worthless metal gilded, there was scratched the name "Molly."