Mr. Graham, dreadfully bored with me, mumbles something like “this is what you get when you try to do somebody a good turn.” I couldn’t catch it all, as he’d doubtless continued farther on his journey through the great Northwest. He wrote from one of a chain of “Grand Trunk Pacific Hotels,” and all I can think of to call after him is _Bon voyage_, though he won’t like it. And now back to Masevaux in the valley of the Doller—Masevaux smelling a bit like nice leather things in expensive shops, with a hint of falling leaves. VI LA POPOTE And how shall he who has not dined be strong? And how shall he who is not girded fight? And how shall he who has not wept laugh? And how shall he who hath not made a free offering of his life find it? And many other things occur to me, but enough for the wise of heart. And now for _la popote_, which is in what was once the house of the Oberforster, in a street doubtless always muddy, looking out on the church, and it is square, of gray stucco, and red brick with a hall running through the center, like many and many a house. The woodwork is everywhere painted brown and the wall-paper, too, is brown, a lighter, depressing brown. Above the dining-table is a ponderous, imitation-bronze chandelier, but its cruel light now shines on blue-clad men who have fought the good fight, agreeable, cultivated men of the world, and it touches strongly scar and galloon and decoration of these, selected _ex millibus et ex millibus_, by hidden powers, to return from battlefield and trench.... It’s the Oberforster’s glass that we use; it’s his imitation-bronze fruit-dish that is now filled with dark, rich grapes of victory. It’s his imitation-tin and real-glass punch-bowl that is on the table by the window. On the porcelain stove that heats well, too well (I sit with my back close to it), is a _dégagé_ marble bibelot, the heads of a man and a woman in _basso-rilievo_ cut in an obtrusively chance bit of marble, and it bears the motto, “_Amor condusse noi_.” Perhaps on their honeymoon, the Oberforster and his bride had made the classic _Italienische Reise_, and had pressed closely, so closely against each other in the railway carriage, that the apprehensive fellow-voyagers shut their eyes or sought another compartment. The Teutonic “will to live” is irresistible, and when it’s at work there’s nothing to be done except get out of the way. Theirs were the lithographs representing beings of the Biedermayer epoch, theirs the many-tiered machine-turned, walnut sideboard. Theirs was (I know not how it got into that company of _ersatz_ and imitation) a beautiful old glass carafe, a shepherd and a sacrificial lamb engraved upon it (perhaps once a church vessel), but in it was a stopper, half cork and half tin, with an imitation turquoise in the middle.