He had heard, of course⁠—in fact, he had made it his business to find out⁠—that Jo lived in St. John’s Wood, that he had a little house in Wistaria Avenue with a garden, and took his wife about with him into society⁠—a queer sort of society, no doubt⁠—and that they had two children⁠—the little chap they called Jolly (considering the circumstances the name struck him as cynical, and old Jolyon both feared and disliked cynicism), and a girl called Holly, born since the marriage. Who could tell what his son’s circumstances really were? He had capitalized the income he had inherited from his mother’s father and joined Lloyd’s as an underwriter; he painted pictures, too⁠—watercolours. Old Jolyon knew this, for he had surreptitiously bought them from time to time, after chancing to see his son’s name signed at the bottom of a representation of the river Thames in a dealer’s window. He thought them bad, and did not hang them because of the signature; he kept them locked up in a drawer.