"It seems he is an artist and rather fond of his profession, but he hurt his hand, and blood-poisoning came on, and for some time he was afraid he would lose his right arm; for months he could paint no pictures, and so all his little capital was swallowed up."
"But why did he not write to his people, Marcus, and make it up with them?"
"So he did, but his letters never got answered, and he got sick of it at last. When he was pretty nearly at the end of his tether he came back to England. I think he said he was in Paris then, or was it Beyrout? well, never mind, he went straight to his old home; but to his horror the house was shut up, and to let, and the caretaker told him that no one had lived there for years, and that she believed the party who had owned it was abroad; he could get nothing more than that out of her.
"He put up at a little wayside inn that night, meaning to make inquiries in the neighbourhood, but the next day he fell ill, and after a bit they took him to the hospital, and since then he drifted up to London, hoping to see his father's old lawyer and glean intelligence from him, but he found he was dead. His fixed intention was to go down again to the place and see the vicar and prosecute his inquiries in person, but ill-luck pursued him; he was robbed in some wretched lodging, and soon found himself in actual want; 'but I mean, if I die for it, to get to Medhurst somehow,' he said to me. 'I could have found someone to identify me there; not that we had been there long, for my people mostly lived abroad, but there must be some friends who could tell me about them.'
"It is a queer story altogether, and yet not a wholly improbable one; but there is a mystery somewhere, Livy, and I am sure of one thing, that his name is not Barton. I hinted as much, but he only flushed up and said nothing."
CHAPTER XI.
THE NIGHT-BELL RINGS.
"A bad beginning leads to a bad ending."—Livy.
The next few days passed quietly. Dr. Luttrell professed himself perfectly satisfied with his patient's progress. In spite of his delicate aspect, and the terrible hardships he had experienced, Robert Barton proved that he had a fair amount of recuperative power. Perhaps his youth was in his favour, and it was soon evident that he had a naturally sanguine temperament. His nature was singularly ill-balanced, he was always in extremes—either in the depths of depression or else unaccountably excited. Olivia would sometimes find him crouching over the fire with his head between his hands in a state of morose misery. And at other times she would hear him whistling a few bars from some opera in quite a light-hearted way.