Anthony Trent, Master Criminal. Martyn Wyndham

wordy, garrulous book that only a multi-millionaire author might write and have published. The first chapter, “My Childhood,” was succeeded by a lofty disquisition on music. Later there came revelations of the Guestwick family life with portraits of their various homes. The music room had a chapter to itself. Reading on, Anthony Trent came to the chapter headed, rather cryptically, “After the Opera.”

      “It is my custom,” wrote the excellent Guestwick, “to hold in my box an informal reception after the performance is ended. My wide knowledge of music, of singers and their several abilities lends me, I venture to say, a unique position among amateurs.

      “We rarely sup at hotel or restaurant after the performance. In my library where there is also a grand piano – we have three such instruments in our New York home and two more at Lenox – Mrs. Guestwick and my daughters talk over what we have heard, criticizing here, lauding there, until a simple repast is served by the butler who always waits up for us. The rest of the servants have long since retired. My library consists of perhaps the most valuable collection of musical literature in the world.

      “I have mentioned in another chapter the refining influence of music on persons of little education. John Briggs, my butler, is a case in point. He came to me from Lord Fitzhosken’s place in Northamptonshire, England. The Fitzhoskens are immemoriably associated with fox-hunting and the steeple-chase and all Briggs heard there in the way of music were the cheerful rollicking songs of the hunt breakfast. I sent him to see Götterdämmerung. He told me simply that it was a revelation to him. He doubted in his uneducated way whether Wagner himself comprehended what he had written.”

      There were thirty other chapters in Mr. Guestwick’s book. In all he revealed himself as a pompous ass assured only of tolerance among a people where money consciousness had succeeded that of caste. But Anthony Trent felt kindly toward him and the money he had spent was likely to earn him big dividends if things went well.

      Caruso sang on the night preceding the morning on which Estelle Grandcourt was to appear and claim her heart balm. This meant a large attendance; for tenors may come and go, press agents may announce other golden voiced singers, but Caruso holds his pride of place honestly won and generously maintained. It had been Trent’s experience that the Guestwicks rarely missed a big night.

      It was at half past nine Anthony Trent groaned that a professional engagement compelled him to leave the Metropolitan. He had spent money on a seat not this time for an evening of enjoyment, but to make certain that the Guestwicks were in their box.

      There was Charles Newman Guestwick beating false time with a pudgy hand. His lady, weighted with Guestwick jewels, tried to create the impression that, after all, Caruso owed much of his success to her amiable patronage. The two daughters upheld the Guestwick tradition by being exceedingly affable to those greater than they and using lorgnettes to those who strove to know the Guestwicks.

      Mr. John Briggs, drinking a mug of ale and wondering who was winning a light weight contest at the National Sporting Club, was resting in his sitting-room. He liked these long opera evenings, which gave him the opportunity to rest, as much as he despised his employer for his inordinate attendance at these meaningless entertainments. He shuddered as he remembered “The Twilight of the Gods.”

      At ten o’clock when Mr. Briggs was nodding in his chair the telephone bell rang. Over the wire came his employer’s voice. It was not without purpose that Anthony Trent’s unusual skill in mimicry had been employed. As a youth he had acquired a reputation in his home town for imitations of Henry Irving, Bryan, Otis Skinner and their like.