tion in either hemisphere, and the glass which Klaus Heinrich had acquired was merely a most modest sample of it. It began in one corner of the room with the earliest artistic productions of the industry, with finds of heathenish designs from the culture of the earliest times; then came the products of the East and West of every epoch; next, wreathed, flourished, and imposing vases and beakers from Venetian blow-pipes and costly pieces from Bohemian huts, German tankards, picturesque Guild and Electorate bowls, mixed with grotesque animals and comic figures, huge crystal cups, which reminded one of the Luck of Edenhall in the song, and in whose facets the light broke and sparkled; ruby-coloured glasses like the Holy Grail; and finally the best samples of the latest development of the art, fragile blossoms on impossibly brittle stems, and fancy glasses in the latest fashionable shape, made iridescent with the vapours of precious metals. The three, followed by Percival, who also examined the collection, walked slowly round the hall ; and Mr. Spoelmann related in his harsh voice the origin of particular pieces, taking them carefully off their velvet stands with his thin, soft-cuffed hand, and holding them up to the electric light.
Klaus Henrich had had plenty of practice in visits of in spection, in putting questions and making adroit remarks, so that he was well able at the same time to ponder over Imma Spoelmann's mode of expressing herself, that peculiar mode which worried him not a little. What amazing freedom she allowed herself! What extraordinary remarks she allowed herself to make! "Passion," "vice," where did she get the words from? where did she learn to use them so glibly? Had not Countess Löwenjoul, who herself dealt with the same topics in a confused sort of way, and had obviously seen the seamy side of life, described her as quite innocent!
