"Delays are dangerous," he said. "My judgment is that those gorgeous paintings will disintegrate more during the coming winter than in all the years gone by. They are at the critical stage. If not preserved now,--well, I cannot bear to think of the consequences. Ah, here is Herr Schwartzmuller." Just inside the door, we came upon a pompous yet servile German who could not by any means have been mistaken for anything but the last word in restoration. I have never seen any one in my life whose appearance suggested a more complete state of rehabilitation. His frock coat was new, it had the unfailing smell of new wool freshly dyed; his shoes were painfully new; his gloves were new; his silk hat was resplendently new; his fat jowl was shaved to a luminous pink; his gorgeous moustache was twisted up at the ends to such a degree that when he smiled the points wavered in front of his eyes, causing him to blink with astonishment. He was undeniably dressed up for the occasion. My critical eye, however, discovered a pair of well-worn striped trousers badly stained, slightly frayed at the bottom and inclined to bag outward at the knee. Perhaps I should have said that he was dressed up from the knee. "This is the great Herr Schwartzmuller, of the Imperial galleries in Munchen," said the Count introducing us. The stranger bowed very profoundly and at the same time extracted a business card from the tail pocket of his coat. This he delivered to me with a smile which seemed to invite me to participate in a great and serious secret: the secret of irreproachable standing as an art expert and connoisseur. I confess to a mistaken impression concerning him up to the moment he handed me his clumsy business card. My suspicions had set him down as a confederate of Count Tarnowsy, a spy, a secret agent or whatever you choose to consider one who is employed in furthering a secret purpose. But the business card removed my doubts and misgivings. It stamped him for what he really was: there is no mistaking a German who hands you his business card. He destroys all possible chance for discussion. In three languages the card announced that he was "August Schwartzmuller, of the Imperial galleries, Munchen, Zumpe & Schwartzmuller, proprietors. Restorations a specialty." There was much more, but I did not have time to read all of it. Moreover, the card was a trifle soiled, as if it had been used before. There could be no doubt as to his genuineness. He was an art expert. For ten minutes I allowed them to expatiate on the perils of procrastination in the treatment of rare old canvases and pigments, and then, having formulated my plans, blandly inquired what the cost would be. It appears that Herr Schwartzmuller had examined the frescoes no longer than six months before in the interests of a New York gentleman to whom Count Hohendahl had tried to sell them for a lump sum. He was unable to recall the gentleman's name.