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knowledge he had received concerning his collection he could not respond.

Yesterday, Sunday morning, he was around again but looked about ten days older. I believe that he had perfect confidence in the genuineness of the bulk of his collection, at least all the pictures which had been collected by Machida. Those which he himself had bought recently under the advice of his uncle, Inau, he finally said he did not have much faith in. 

The whole affair has disappointed me more than I can tell you because I had built up high hopes. The hurried manner in which we saw the paintings at the Wayne Hotel, of course, was very incomplete and liable to end in much uncertainty, but after your departure and before Fenollosa arrived, I had put in a solid day in looking over the entire lot. I had rejected over thirty as being either fradulent or unimportant, but there were over twenty which seemed to be worth while - all Chinese expecting one, one being attributed to Sesshu. Now Fenollosa comes along and accepts only two of the Chinese as of any value, and says that the Sesshu may be a genuine specimen of the master's work, but if so, it is not important enough to enter my collection. 

I bought from Yamamoto four pices of pottery including the Koyetsu incense box and the Ki- Seto cake dish. I also secured from him a curious print bearing Matahei's printed signature. This is for you and will go forward in a day or two. I hope you will accept it with my compliments. I had no chance of showing it to Fenollosa, but I spoke with him about it, and he says that he never saw a print bearing Matahei's signature.