making now and then a raid into the compact museum of illustration next door, in which specimens and models and directions stood in disciplined ranks, under the direction of the demonstrator Capes. There was a couple of blackboards at each end of the aisle of tables, and at these Capes, with quick and nervous speech that contrasted vividly with Russell's slow, definitive articulation, directed the dissection and made illuminating comments on the structures under examination. Then he would come along the laboratory, sitting down by each student in turn, checking the work and discussing its difficulties, and answering questions arising out of Russell's lecture.
Ann Veronica had come to the Imperial College obsessed by the great figure of Russell, by the part he had played in the Darwinian controversies, and by the resolute effect of the grim-lipped, yellow, leonine face beneath the mane of silvery hair. Capes was rather a discovery. Capes was something superadded. Russell burned like a beacon, but Capes illuminated by darting flashes and threw light, even if it was but momentary light, into a hundred corners that Russell left steadfastly in the shade.
Capes was an exceptionally fair man of two or three-and-thirty, so ruddily blond that it was a mercy he had escaped light eyelashes, and with a minor but by no means contemptible reputation of his own. He talked at the blackboard in a pleasant, very slightly lisping voice with a curious spontaneity, and was sometimes very clumsy in his exposition, and sometimes very vivid. He dissected rather awkwardly and hurriedly, but, on the whole, effectively, and drew with an impatient di-
