chairs and the little table at which we filled and arranged our pipes, and was lighted only by a tallow candle. There were a few pictures on the walls, for the most part rude prints cut from the columns of the daily press and pasted up to hide the bareness of the room. Only one picture was in any way noticeable, a portrait admirably executed in pen and ink. The face was that of a young man, a very beautiful face, but one of infinite sadness. I had long been aware, although I know not how, that Ah-Yen had met with a great sorrow, and had in some way connected the fact with this portrait. I had always refrained, however, from asking him about it, and it was not until the evening in question that I knew its history.
We had been smoking in silence for some time when Ah-Yen spoke. My friend is a man of culture and wide reading, and his English is consequently perfect in its construction; his speech is, of course, marked by the lingering liquid accent of his country which I will not attempt to reproduce.
"I see," he said, "that you have been examining the portrait of my unhappy friend, Fifty-Six. I have never yet told you of my
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