Still again he stood just inside the closed door listening, for several moments. With a catlike quietness of tread he moved first to one door, and then to another. Then, having satisfied himself that he was alone in the apartment, he began an expeditious and systematic search of the place. This search soon narrowed itself down to the large studio, lighted only by a skylight of ground glass, which proved itself to be the workroom of his friend, the "graveur sur acier." For in this studio Kestner found many things of interest.
The first thing that caught his attention was a projecting lantern and a white cotton screen. Across the room from this stood a camera hooded by a square of black lustre. In the centre of the room stood a large oak table littered with etchings and art prints, while between two doors leading into two closets stood a cabinet filled with miniatures painted on ivory. On a second table, against the remoter wall of the studio, stood rows of acid bottles, inks, and a collection of engraving-tools.
All of these, Kestner knew, might be used by as etcher on steel or copper, and none of them implied an industry that was illicit. So he continued his search, minutely, and sighed with relief when under a drapery of imitation Gobelin tapestry his exploring knuckles came in contact with the metallic surface of a safe-front.
It took him but a moment to throw back that factory-made affront to the Gobelins and discover himself face to face with an oblong of japanned steel held shut by a combination lock. Within that wall, he felt, lay the object of his search. He tapped the metal
