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 quent, impassioned, uplifting. The introductions were made in a low voice, so as not to disturb the music, and it was in silence that Alicia put out a frank hand to Wat and welcomed him with the strong grasp of a violinist's fingers.

Wat's ordinary tongue-tied diffidence went unnoticed under these circumstances. He was able to sit down without saying anything confused or banal. The powerful music, professionally interpreted, filled him with stately emotions, to which he moved and sat with an effect of personal dignity and repose.

These may seem to be details of small importance. But life has a way of concealing its ominous beginnings and of being striking only when its conclusions are already foregone. So death is more dramatic, but less significant, than the unperceived inception of the fatal incidents that end in death. And in the seemingly trivial circumstances of Wat's introduction to the Janes veranda there were hidden the germs of vital alterations for him—alterations that were to affect the life of the whole community of Coulton, and, if the King's birthday list is to be believed, were to be important even to the British Empire.

Alicia Janes was dressed in a belted black gown, like an art student, with a starched Eton collar and cuffs. Instead of the elaborate coiffure of the day's style she wore her dark hair simply parted and coiled low on her neck in a Rossetti mode. Her