André drives in among the sheep and cows, and you climb lumberingly down with cold stiffened limbs. André puts his whip upon the felt roof, for it is a deadly breach of etiquette to bring it into the house. “You go in,” said Alexsimevich. It is like entering a kennel, this struggle through the narrow aperture, muffled to the eyes in double furs and awkward felt boots. As you straighten up after the crawl through the entrance, a red glare from the fire just in front meets the gaze. Stinging smoke grips the throat; you choke in pain. It blinds the smarting eyes. You gasp and stagger. Then some one takes your hand and pulls you violently down on a low couch to the left, where in course of time breath and sight return. There is no chimney, nor stack for the fire of the brazier, which stands in the centre of the hut. One can see the open sky through the three-foot hole above. The smoke, finding its way toward this aperture, works along the sloping wooden poles which form the framework of the felt-covered tent, filling the whole upper section with its blinding fumes. To stand is to smother. Sitting, the head comes below the smoke-line. With recovered vision, one can look around within the hut. The couch of refuge, raised some six inches above the floor, is the bed by night, the sitting-place by day. Against the wall at the left hand, and directly opposite the door, is a box-like cupboard, along whose top are ranged pictures of grotesque Buddhist gods, before whom are little brass cups full of offerings, millet or oil, in which is standing a burning wick. Beside the door is a shelf loaded with fire-blackened pots and kettles. Branches of birch for fuel are thrown beneath. On the far side of the room, three black lambs, fenced off by a wicker barricade, are huddled together, quietly sleeping. [Illustration: A MONGOL BELLE AND HER YURTA] [Illustration: A ZABAIKALSKAIA BURIAT]