When the steep mountain climb has been passed, it is as if a gateway had been opened through the constricting ridges. The broad valley of the Haragol stretches out. Down, down, we go, onto a plain, in the centre of which we come to an enclosure with a high mud wall and a peaked gateway, gaudily decked with red banners and vivid placards. Outside the mud walls of the compound, far and wide, are checker-board squares with irrigation ditches between. Huge stacks of hay and straw are piled up near the gate, the wonder and envy of the nomads, who never have more than the scantiest store. Within are booths facing the courtyard. A little temple occupies one corner. Two-wheeled carts are drawn up along the wall. Troughs and picket-poles are ranged in line, ready for the caravans. Now, around the tarantass, there gather from their threshing the dwellers of the compound,--coolies from the far-off Pink Kingdom, with puffy blue trousers and tight-buttoned jackets, flail in hand and metal pipe in mouth. They stare stolidly without comment at the frost-covered horses, the robes, and the bearded strangers. Expressionless they stand watching every movement. Alexsimevich asks a question; no one answers. We sit for a moment mutually expectant. Not one of the Chinese stirs or speaks. Then André swings down and leads the team through the gateway into the compound. Alexsimevich leads the search for shelter. We cross the courtyard to the building which serves for the lodging of travelers. Its walls are of mud, and a big adobe chimney projects up one side. Beneath low eaves a small window with white paper panes blinks like the sightless eyes of a blind man. We stoop, pushing open the crudely pivoted door, enter the smoky chamber, and the door swings back behind. We are standing in what seems an unreal world--a stage-scene or a cavern from the Arabian Nights. In front and on each side close in dark windowless walls. Behind comes a feeble light from the little paper-paned window. In the dimness, a flickering fire throws fitful gleams on dusky figures, idols, and wearing-gear hung on pegs driven into the wall. As your eyes become accustomed to the gloom, the details take shape. A clay stove is to the left. Fagots are heaped beside it, copper kettles rest upon its top, pigtailed figures are crouching around. In front, a platform, raised four feet above the clay floor, occupies the whole width of the room and extends back into the darkness. A group of men are seated, cross-legged, around a little brazier, smoking. Others are lying rolled in blankets.