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sensual music of the voice of the man in buttons. He began to listen to what he said, and even to make some attempt at answering a question which appeared to have been put several times and was now put with some excess of emphasis. Michael realised that the image of God in nickel buttons was asking him how he had come there. He said that he had come in Lucifer’s ship. On his giving this answer the demeanour of the image of God underwent a remarkable change. From addressing Michael gruffly, as if he were a malefactor, he began suddenly to speak to him with a sort of eager and feverish amiability as if he were a child. He seemed particularly anxious to coax him away from the balustrade. He led him by the arm towards a door leading into the building itself, soothing him all the time. He gave what even Michael (slight as was his knowledge of the world) felt to be an improbable account of the sumptuous pleasures and varied advantages awaiting him downstairs. Michael followed him, however, if only out of politeness, down an apparently interminable spiral of staircase. At one point a door opened. Michael stepped through it, and the unaccountable man in buttons leapt after him and pinioned him where he stood. But he only wished