The smiling, bright, top part of it - and the hidden gruesomeness underneath. And the queer thing is that the sketch I painted at the time has become tinged with the same atmosphere. When you look at it first it is just a rough sketch of a little steep Cornish street with the sunlight on it. But if you look long enough at it, something sinister creeps in. I have never sold it, but I never look at it. It lives in the studio in a corner with its face to the wall.

'The name of the place was Rathole. It is a queer little Cornish fishing village, very picturesque - too picturesque perhaps. There is rather too much of the atmosphere of 'Ye Olde Cornish Tea House' about it. It has shops with bobbed-headed girls in smocks doing hand-illuminated mottoes on parchment. It is pretty and it is quaint, but it is very self-consciously so.'

'Don't I know,' said Raymond West, groaning. 'The curse of the tourist bus, I suppose. No matter how narrow the lanes leading down to them, no picturesque village is safe.'

Joyce nodded. 'There are narrow lanes that lead down to Rathole and very steep, like the side of a house. Well, to get on with my story. I had come to Cornwall for a fortnight, to sketch. There is an old inn in Rathole, the Polharwith Arms. It was supposed to be the only house left standing by the Spaniards when they shelled the place in fifteen hundred and something.'

'Not shelled,' said Raymond West, frowning. 'Do try to be historically accurate, Joyce.'

'Well, at all events they landed guns somewhere along the coast and they fired them and the houses fell down. Anyway, that is not the point. The inn was a wonderful old place with a kind of porch in front built on four pillars. I was just settling down to work when a car came creeping and twisting down the hill. Of course, it would stop before the inn - just where it was most awkward for me. The people got out - a man and a woman - I didn't notice them particularly. She had a kind of mauve linen dress on and a mauve hat.