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Was this longing for solitude the influence of this mysterious religion?

Remote, lonely isolation was a cult of Buddha. The devotees of that cult sought the waste places of the earth for their meditations. To be out of the world, in its physical contact, was a prime postulate in the practice of this creed.

“Ah, Robin,” he cried, as though he were in a jovial mood and careless of the subject, “do you have a hobby?”

I answered that I had not felt the need of one. The inquiry was a surprise and I could think of nothing better to reply with.

“Then, my boy,” he went on, “what will you do when you are old? One must have something to occupy the mind.”

He got up and turned the glass box a little on the mantelpiece.

“This is a very rare image,” he said; “one does not find this image anywhere in India. It came from Tibet. The expression and the pose of the figure differ from the conventional Buddha. You might not see that, but to any one familiar with this religion these differences are marked. This is a monastery image, and you will see that it is cast, not graven.”

He beckoned me to come closer, and I rose and stood beside him. He went on as with a lecture:

“The reason given by the natives why this image is not found in Southern Asia is that it cannot be cast anywhere but in the Tibetan monasteries. A certain ritual at the time of casting is necessary to produce a perfect figure. This ritual is a secret of the Khan monasteries. Castings of this form of image made without the ritual are always defective; so I was told in India.”

He moved the glass box a little closer to the edge of the mantelpiece.

“Naturally,” he went on, “I considered this story, to be a mere piece of religious pretension. It amused me to make some experiments, and to my surprise the castings were always defective. I brought the image to England.”

He shrugged his shoulders as with a careless gesture.

“In my idle time here I tried it again. And incredibly the result was always the same; some portion of the figure showed a flaw. My interest in the thing was permanently aroused. I continued to experiment.”

He laughed in a queer high cackle.

“And presently I found myself desperately astride a hobby. I got all the Babbitt metal that I could buy up in England and put in the days and not a few of the nights in trying to cast a perfect figure of this confounded Buddha. But I have never been able to do it.”

He opened a drawer of the gun-case and brought over to the fire half a dozen castings of the Buddha in various sizes.

Not one among the number was perfect. Some portion of the figure was in every case wanting. A hand would be missing, a portion of a shoulder, a bit of the squat body or there would be a flaw where the running metal had not filled the mold.

“I’m hanged,” he cried, “if the beggars are not right about it. The thing can’t be done! I’ve tried it in all sorts of dimensions. You will see some of the big figures in the garden. I’ve used a ton of metal and every sort of mold.”

Then he flung his hand out toward the bookcase.

“I’ve studied the art of molding in soft metal. I have all the books on it, and I’ve turned the boathouse into a sort of shop. I’ve spent a hundred pounds – and I can’t do it!”

He paused, his big face relaxed.

“The country thinks I’m mad, working with such outlandish deviltry. But, curse the thing, I have set out to do it and I am not going to throw it up.”

And suddenly with an unexpected heat he damned the Buddha, shaking his clenched hand before the box.

“Your pardon, Robin,” he cried, the moment after. “But the thing’s ridiculous, you know. The ritual story would be sheer rubbish. The beggars could not affect a metal casting with a form of words.”