knows about these paintings on loan from Russia, and how he has guarded them for 40 years, never forgetting a thing. Finally at an end, he dashes out of the gallery, once and for all. Fleeing the gallery, he feels as if he is being chased, but no one is there. His head is wracked with throbbing pain, and he is stumbling around as if intoxicated. Turning into an alley for relief, he is face to face with the three 'angels' from the painting. The scene shifts again to the commission of Dionisy for a copy of Rublev's Trinity. Knowing the enormity of the work to create a copy of a masterpiece, Dionisy wanted to do everything from the canvas frame to the finest details himself. As head of a school, the norm is for masters to do their part under his instruction. Though reticent, Dionisy submits and allows another to create the frame from wood he chose. Other masters work on the painting under observation and scrutiny from Dionisy. Eventually he completes the copy, and it is celebrated. But by the end of his life, Dionisy rejects even the memory of the painting. The homeless man is trying to sleep in a shelter, but is beset by visions of the angels from the painting. Passing the time one day, he sees an old man pull a knife from under his bed. Though the man cannot speak Spanish, he gets the old man to communicate the name of the knife and where he bought it. He goes to the shop and buys a sharp knife. 34. The Life and Work of Master Inoue Kazuyuki This chapter begins with Seiobo coming to earth, existing only in the moment, and being called to a performance for the Prince of Chu, King of Mu. There, she is incarnated in the play, and offers the Prince of Chu eternal life, and reveals to him the promise of heaven. Sensei Inoue Kazuyuki is a venerated Noh performer, surrounded at all times by family and students. After performing he is surrounded by attendants removing his costume and preparing him for the further ritual of bowing before the crowd, and individually wishing each guest goodbye. He only wishes to be alone, but the attendants' attention is part of the tradition of the Noh, even though their movement and attention has no regard for the actual performance. Following