Only after these preliminaries had been completed did I show him the camellia paintings– and you would have been thrilled, dear Puggly, to observe his response, for his face lit up in such a way that you could not doubt that he had recognized something. At once he summoned a retainer and sent him racing off along the winding pathways. I thought for sure the man would return with a potted camellia and thereby put an end to our search. But no! He came back with a roll of silk, from the inside of which there emerged a picture that was very similar to the one I had brought with me – the flowers were arranged at different angles, which changed the composition slightly, but even to my unpractised eye it was evident that the blooms were of the same variety. As for the colours, the brushwork and the paper, they were like enough to suggest that the two pictures had been painted by the same hand and at about the same time.

I can see you now, my dear Puggly-mem, sitting with your brow furrowed and holding your breath as you ask: whose was this hand?

I regret to say you are shortly to be disappointed …

… for Punhyqua did not know who the illustrator was: the only thing he could remember was that he was a young Canton painter but employed by an Englishman – a botanist or gardener who had come to Canton some thirty or thirty-five years before. And strange to say, it was this man – the fanqui – who had given Punhyqua the picture and for the same reason that Mr Penrose has entrusted me with his: that is to say, in the hope that it might help in tracing the flower. But the variety was unknown to Punhyqua, and despite making extensive inquiries he has been able to learn nothing about it. So far as he knows the Englishman was never able to find any trace of it either.

Now once again, I can see you asking yourself: so who was this fanqui, this Englishman in whose footsteps you follow?

And you may be sure that I did not neglect to put this question to my host – but to no avail alas, for he could not remember the man’s name (which is not surprising, I suppose, after a gap of thirty years!).

This is all that I would have to tell you today, if not for a most fortunate circumstance. As we were preparing to take our leave of Punhyqua, another magnate of the Co-Hong was shown in. I recognized him at once, because Mr Chinnery has painted him too, and I happen to have chanced upon one of the preparatory sketches: he is Mr Wu Ping-ch’ien who is the very greatest of the Co-Hong merchants, known to fanquis as Howqua.

Howqua is the oldest of the Hongists and also the richest by far. Zadig Bey says that his fortune amounts to thirty million Spanish dollars – can you imagine, Puggly dear, if you were to melt that amount of silver, you would have a lump that would outweigh twelve thousand people! Yet to look at Howqua you would never imagine that he was one of the world’s richest men: Zadig Bey says that he is famed both for his generosity and his asceticism (he is known to have once torn up a promissory note in the sum of seventy-five thousand dollars, out of pity for an American who was unable to pay it back and was desperate to go back home!). And as for his habits, Zadig Bey says that he will sit through a hundred-course banquet without touching more than a morsel or two. He certainly has the look of an ascetic, very thin, almost skeletal, with sunken cheeks and deep-set eyes.