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It was the crude, half-finished shape of a recumbent female figure, of large proportions and abominable modelling, stretched out at full length upon a long, low, trestle-supported "sculptor's staging," on which also lay Van Nant's modelling tools and his clay-stained working blouse.

"He obtained a livelihood," said I, "by writing poems and plays, some of which are wonderfully fine." "What," said Morgan, "a writer of Interludes? One of Twm o'r Nant's gang! I thought he would turn out a pretty fellow." I told him that the person in question certainly did write Interludes, for example Noah, and Joseph at Goshen, but that he was a highly respectable, nay venerable character.

"I knew that George Carboys had returned to that studio by the dry marks of muddy footprints, that were nothing like the shape of Van Nant's, which I found on the boards of the verandah and on the carpet under one of the windows; I knew, too, that it was Van Nant who had sent that pigeon. I did so for the purpose of looking at that fifth pigeon.

I had observed something on its breast feathers which I thought, at first glance, was dry mud, as though it had fallen or brushed against something muddy in its flight. As we descended the stairs I observed that there was a similar mark on Van Nant's sleeve. I brushed against him and scraped off a fleck with my fingernails. It was the dust of dried modelling clay.