Of the five remaining pictures, three were of swamp and hill scenes which seemed to bear traces of hidden and unwholesome tenancy. Another was of a queer mark in the ground very near Akeley's house, which he said he had photographed the morning after a night on which the dogs had barked more violently than usual. It was very blurred, and one could really draw no certain conclusions from it; but it did seem fiendishly like that other mark or claw-print photographed on the deserted upland. The final picture was of the Akeley place itself: a trim white house of two stories and attic, about a century and a quarter old, and with a well-kept lawn and stone-bordered path leading up to a tastefully carved Georgian doorway. There were several huge police dogs on the lawn, squatting near a pleasant-faced man with a close-cropped grey beard whom I took to be Akeley himself—his own photographer, one might infer from the tube-connected bulb in his right hand.