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over the remnants that had once constituted an imposing imperial structure. While most of his archaeological contemporaries in China were chasing prehistoric burial tombs loaded with bronze artifacts, Hunt’s focus was on the more recent Yuan Dynasty. This was his third summer on the grounds of Shang-tu, excavating the remains of the royal summer palace built in 1260. Staring at a barren hillside dotted with mounds of fresh dirt, it was difficult to imagine the former grandeur of the palace and grounds that would have stood before him nearly eight hundred years earlier.
    Though surviving Chinese historical records provide scant detail, Marco Polo, the Venetian adventurer who vividly documented thirteenth-century China and the Silk Road in his book The Travels , provided a striking description of Shang-tu at its zenith. Built on a huge mound at the center of a walled city, the original palace was surrounded by a forest of transplanted trees and lapis lazuli stone paths, which lent a magical blue hue to the estate. Exquisite gardens and fountains weaved through a series of government buildings and residences that encircled the Ta-an Ko, or “Pavilion of Great Harmony,” which stood as the imperial palace. Constructed of green marble and stone and gilded with gold, the great structure was inlaid with glazed tiles and decorated with breathtaking paintings and sculptures from China’s most skilled artisans. Used primarily as a summer residence by the emperor to escape the heat of Peking, Shang-tu quickly developed into a scientific and cultural hub. A medical center and astronomical observatory were constructed, and the city became a haven for scholars both foreign and domestic. A constant breeze across the hilltop cooled the emperor and his guests, as he administered over an empire that stretched from the Mediterranean to Korea.
    But it was the emperor’s adjacent hunting ground that perhaps gave the summer palace its most renown. It was a vast enclosed park of trees, streams, and thick grass, encompassing sixteen square miles. The park was stocked with deer, boar, and other game for the hunting pleasure of the emperor and his guests. Elevated paths circled through the preserve, to keep the hunters’ feet dry. Surviving tapestries show the emperor hunting in the park on a favorite horse, with a trained hunting cheetah at his side.
    Centuries of abandonment, neglect, and looting had reduced the palace to little more than scattered rubble. It was nearly impossible for Hunt to picture the lush grounds of gardens, fountains, springs, and trees as they existed centuries ago. The landscape was now barren. A wide, grassy plain stretched empty to the distant brown hills. The area was void of life, the city’s past glory just a whisper on the wind that ruffled through the tall grass. Xanadu, the romantic name of Shang-tu popularized by the Samuel Taylor Coleridge poem, existed now only in the imagination.
    With approval from the Nationalist government, Hunt had begun excavations three years before. Trowel by trowel, he had been able to piece together the boundaries of the Palace of Great Harmony, identifying a grand hall, a kitchen, and a dining hall. An assortment of bronze and porcelain artifacts recovered from the earth told the tale of daily life at the palace. But, to Hunt’s disappointment, there were no dazzling artifacts uncovered, no terra-cotta armies or Ming vases that would make a name for himself. The dig was nearly completed, just the remains of the royal bedroom chamber remained to be excavated. Already, most of his colleagues had fled the eastern regions of China, not wanting to get caught up in a civil war or foreign invasion. Hunt seemed to perversely enjoy the turmoil and pending danger from the site in Northwest China, not far from Manchuria. With a love of antiquity and drama, he knew that he was standing thick in the middle of history in the making.
    Hunt also knew that the British