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And from the broken fragments of description that Benham let fall, White had an impression of him hunting for all those three days through the strange places of a Chinese city, along narrow passages, over queer Venetian-like bridges, through the vast spaces of empty warehouses, in the incense-scented darkness of temple yards, along planks that passed to the dark hulls of secret barges, in quick-flying boats that slipped noiselessly among the larger craft, and sometimes he hunted alone, sometimes in company, sometimes black figures struggled in the darkness against dim-lit backgrounds and sometimes a swarm of shining yellow faces screamed and shouted through the torn paper windows.... And then at the end of this confused effect of struggle, this Chinese kinematograph film, one last picture jerked into place and stopped and stood still, a white wall in the sunshine come upon suddenly round a corner, a dirty flagged passage and a stiff crumpled body that had for the first time an inexpressive face....
Both palaces bear his arms, graven on marble tablets beside the entrance. Both are of brick, now dulled and mellowed into a reddish white. Both have walls of enormous thickness. The windows of the upper stories quadruple casements divided, Venetian-like, by twisted pillarettes richly carved are faced and mullioned with marble. The arched portals opening to the streets are low, dark, and narrow.
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