The sayings of the ancient philosopher Tai Loo are indeed very subtle, and the truth of his remark, “After being disturbed in one’s dignity by a mandarin’s foot it is no unusual occurrence to fall flat on the face in crossing a muddy street,” was now apparent. Great as was the disadvantage owing to the nature of the five characters, this became as nothing when it presently appeared that the avaricious and clay-souled Tieng Lin, taking advantage of the blindness of this person’s enthusiasm, had taught him the figures so that they all gazed in the same direction. In consequence of this it would have been impossible that two should be placed as in the act of conversing together had not the noble Kyen Tal been inspired to write that “his companions turned from him in horror.” This incident the ingenious person who is recording these facts made the subject of three separate drawings, and having in one or two other places effected skilful changes in the writing, so similar in style to the strokes of the illustrious Kyen Tal as to be undetectable, he found little difficulty in making use of all his characters. The risks of the future, however, were too great to be run with impunity; therefore it was arranged, by means of money--for this person was fast becoming acquainted with the ways of Peking--that an emissary from one who sat in an easy-chair should call upon him for a conference, the narrative of which appeared in this form in the _Peking Printed Leaves of Thrice-distilled Truth:_ The brilliant and amiable young picture-maker Kin Yen, in spite of the immediate and universal success of his accomplished efforts, is still quite rotund in intellect, nor is he, if we may use a form of speaking affected by our friends across the Hoang Hai, “suffering from swollen feet.” A person with no recognized position, but one who occasionally does inferior work of this nature for us, recently surprised Kin Yen without warning, and found him in his sumptuously appointed picture-room, busy with compasses and tracing-paper. About the place were scattered in elegant confusion several of his recent masterpieces. From the subsequent conversation we are in a position to make it known that in future this refined and versatile person will confine himself entirely to illustrations of processions, funerals, armies on the march, persons pursued by others, and kindred subjects which appeal strongly to his imagination. Kin Yen has severe emotions on the subject of individuality in art, and does not hesitate to express himself forcibly with reference to those who are content to degrade the names of their ancestors by turning out what he wittily describes as “so much of varied mediocrity.”