Willett saw no more, but somehow this small glimpse gave a new and vague terror to the painted features of Joseph Curwen which stared blandly down from the overmantel. Ever after that he entertained the odd fancy—which his medical skill of course assured him was only a fancy—that the eyes of the portrait had a sort of wish, if not an actual tendency, to follow young Charles Ward as he moved about the room. He stopped before leaving to study the picture closely, marvelling at its resemblance to Charles and memorising every minute detail of the cryptical, colourless face, even down to a slight scar or pit in the smooth brow over the right eye. Cosmo Alexander, he decided, was a painter worthy of the Scotland that produced Raeburn, and a teacher worthy of his illustrious pupil Gilbert Stuart.