“But you, my dear Lexow, are not a connoisseur. I, as chance would have it, have seen a box of this description before; saw one in France, the property of a lady of high degree; and, strange as it may seem, I don’t believe a hundred bright gold pieces such as the one I gave Rebecca, could have induced my French lady friend to part with it. Guess why.” “Why? Oh, I suppose it had certain associations that made her want to keep it. We often prize things quite irrespective of their market value. But go on: don’t be so roundabout.” “Well, the reason—at least one reason—for her setting such store by the box in question—which, I must remind you, was the very duplicate of the one we have here—the reason, I say, was that she knew enough about such matters to recognize that box for a specimen of cinque-cento—a specimen of cinque-cento! Now do you begin to realize that the paltry five dollars were not exorbitant?” “Oh, from the standpoint of an antiquary, an amateur of bric-a-brac, I suppose it was not.” “Excellent! No, sir; on the contrary, it was an immense bargain, a thorough-going stroke of luck. But now please take the box into your own hands, treat it gingerly, inspect it carefully, and tell me whether you remark any thing extraordinary about it.” “Nothing, except that it is extraordinarily ugly and doesn’t speak well for cinque-cento,” I replied, after the requisite examination. “Another proof that das Sehen muss gelernt sein! Here, I will enlighten you.—You behold this metal work which a moment since we disposed of as copper; learn that it is bronze; and not cast bronze, either, but wrought bronze, bronze shaped with hammer and chisel. Look closely at it; note the forms into which it has been modeled. See these roses, these lilies, these lotus leaves; see how exquisitely they are fashioned; see how they are massed together into a harmonious ensemble. Now hold it close to your eyes: see—do you see?—this serpent twined among the flowers! The artist must have worked from life—the very texture of the skin is reproduced—it makes one shudder.” “Yes,” I said, “I admit it is a fine piece of work.” “But we have not yet exhausted the list of its virtues by any means. Now open it and look at the interior.” “I see nothing remarkable about the interior,” I replied, “nothing but bare wood.” “That is all you see; but watch.” He applied the point of a pencil to one of the series of nail-heads with which the top of the lid was studded. It appeared to sink a hair’s-breadth into the wood. Thereat the lower surface of the lid dropped down, disclosing a hollow space between it and the upper.—“A double cover,” he said, “a place for hiding things and—hello! it isn’t empty!”