'You like my picture?' Domagk entered unexpectedly, still in his white coat. From the warmth of his greeting I had been caught at a fortunate moment. I politely asked the artist.

'Otto Dix. I was going to say that he's one of our younger painters, but of course now he's about forty. He teaches at Dresden. He's a disciple of "The New Objectivity"'-Domagk repeated _Die Neue Sachlichkeit_ in English. 'That's an artistic movement derived from the 'Bridge Group" formed early this century in Dresden,' he continued in an explanatory way, 'but after the War some rather crazy people joined it. His work is taken to express a realistic disillusionment with life in Germany today-or by that do we mean a disgust?'

He waved me to a low chair, sitting behind the roll-top desk, crossing his long legs. Unwinding my Trinity scarf, I handed him from my breast pocket a glossy pamphlet entitled,

_LES PRIX NOBEL EN 1929_

_The Earlier History of Vitamin Research_

_Sir Frederick Cowland Hopkins F R S_

On the day I had packed up my luggage, my ambitions and my illusions to leave Cambridge for good, I had taken a self-consciously sentimental breakfast-time walk along the river. It was a December morning which sharply reminded the University that it was but an intruder in the Fens. The Backs wore their midwinter splendour, trees ghostly with frost under the bleary eye of a newly awakened sun, even the incorrigible mallards dulled with cold on the steely waters of the Cam. On Trinity bridge I encountered 'floppy', long moustache covering the angles of his mouth to bestow a look of everlasting pondering, his eyes mirrors of infinite shrewdness. When I disclosed I was disappearing to Wuppertal he was amazed and shocked. 'Going over to the enemy,' he called it. But with his usual kindness he suggested that I carried the signed reprint as an introduction to Domagk, who might perhaps be useful to me.

Domagk offered a packet of Juno cigarettes-_Berlin raucht Juno,_ said the advertisements-but I have never smoked.