Then we continued without comment to study other photographs. There were at least several hundred. They were all of Ginkel. Most of them were blurred and showed odds and ends of backgrounds out of focus, such as trees, street cars, buildings, telephone poles. There was one that finally aroused Ginkel to comment: "This would have been a good one, but it got light struck," he said. "It was taken in Bagdad." * * * * * When we had exhausted the album Ginkel felt more at ease. He offered me some tobacco from his pouch. I resumed the original line of questioning. "Did you have any unusual adventures during your travels or did you get any ideas that we could fix up for a story," I asked. "Well," said Ginkel, "I was always a camera bug, you know. I guess that's what gave me the bug for travelling. To take pictures, you know. I got a lot more than these, but I ain't mounted them yet." "Are they like the ones in the book." "Not quite so good, most of them," Ginkel answered. "They were taken when I hadn't had much experience." "You must have been in Russia while the revolution was going on, weren't you?" "Oh, yes. I got one there." He opened the book again. "Here," he said. "This was in Moscow. I was in Moscow when this was taken." It was another picture of Ginkel slightly out of focus and standing against a store front. I asked him suddenly who had taken all the pictures. "Oh, that was easy," he said. "I can always find somebody to do that. I take a picture of them first and then they take one of me. I always give them the one I take of them and keep the one they take of me." "Did you see any of the revolution, Ginkel?" "A lot of monkey business," said Ginkel. "I seen some of it. Not much." The last thing I said was, "You must have come in for a lot of sights. We might fix up a story about that if you could give me a line on them." And the last thing Ginkel said was: "Oh, yes, I've been around the world." THUMBS UP AND DOWN Later the art jury will sit on them. The art jury will discuss tone and modelling, rhythm and chiaroscuro and perspective. And in the light of these discussions and decisions the art jury will sort out the masterpieces that are to be hung in the Chicago artists' exhibition and the masterpieces that are not to be hung. Right now, however, Louis and Mike are unwrapping them. Every day between nine and five Louis and Mike assemble in the basement of the Art Institute. The masterpieces arrive by the bushel, the truckload, the basketful. Louis unwraps them. Mike stacks them up. Louis then calls off their names and the names of geniuses responsible for them. Mike writes this vital information down in a book. * * * * *