friends at Armenonville.

So Ste. Marie, in a vile temper, dined quite alone at Lavenue's, beside
the Gare Montparnasse, and toward ten o'clock drove across the river to
the rue du Faubourg. Captain Stewart's flat was up five stories, at the
top of the building in which it was located, and so, well above the
noises of the street. Ste. Marie went up in the automatic lift, and at
the door above his host met him in person, saying that the one servant
he kept was busy making preparations in the kitchen beyond. They entered
a large room, long but comparatively shallow, in shape not unlike the
sitting-room in the rue d'Assas, but very much bigger, and Ste. Marie
uttered an exclamation of surprise and pleasure, for he had never before
seen an interior anything like this. The room was decorated and
furnished entirely in Chinese and Japanese articles of great age and
remarkable beauty. Ste. Marie knew little of the hieratic art of these
two countries, but he fancied that the place must be an endless delight
to the expert.

The general tone of the room was gold, dulled and softened by great age
until it had ceased to glitter, and relieved by the dusty Chinese blue
and by old red faded to rose and by warm ivory tints. The great expanse
of the walls was covered by a brownish-yellow cloth, coarse like burlap,
and against it, round the room, hung sixteen large panels representing
the sixteen Rakan. They were early copies--fifteenth century, Captain
Stewart said--of those famous originals by the Chinese Sung master
Ririomin, which have been for six hundred years or more the treasures of
Japan. They were mounted upon Japanese brocade of blue and dull gold,
framed in keyaki wood, and out of their brown, time-stained shadows the
great Rakan scowled or grinned or placidly gazed, grotesquely graceful
masterpieces of a perished art.

At the far end of the room, under a gilded canopy of intricate
wood-carving, stood upon his pedestal of many-petalled lotus a great
statue of Amida Buddha in the yogi attitude of contemplation, and at
intervals against the other walls other smaller images stood or sat:
Buddha, in many incarnations; Kwannon, goddess of mercy; Jizo Bosatzu
Hotei, pot-bellied, god of contentment; Jingo-Kano, god of war. In the
centre of the place was a Buddhist temple table, and priests' chairs,
lacquered and inlaid, stood about the room. The floor was covered with
Chinese rugs, dull yellow with blue flowers, and over a doorway