oportions admirably devised to suit the shapes
and sizes of the small rooms; on the walls; upon the floors; tingeing
and subduing the light that comes in through the odd glass doors and
windows here and there. There are a few choice prints and pictures too;
in quaint nooks and recesses there is no want of books; and there are
games of skill and chance set forth on tables--fantastic chessmen, dice,
backgammon, cards, and billiards.

And yet amidst this opulence of comfort, there is something in the
general air that is not well. Is it that the carpets and the cushions
are too soft and noiseless, so that those who move or repose among
them seem to act by stealth? Is it that the prints and pictures do not
commemorate great thoughts or deeds, or render nature in the Poetry of
landscape, hall, or hut, but are of one voluptuous cast--mere shows of
form and colour--and no more? Is it that the books have all their gold
outside, and that the titles of the greater part qualify them to be
companions of the prints and pictures? Is it that the completeness and
the beauty of the place are here and there belied by an affectation of
humility, in some unimportant and inexpensive regard, which is as false
as the face of the too truly painted portrait hanging yonder, or its
original at breakfast in his easy chair below it? Or is it that, with
the daily breath of that original and master of all here, there issues
forth some subtle portion of himself, which gives a vague expression of
himself to everything about him?

It is Mr Carker the Manager who sits in the easy chair. A gaudy parrot
in a burnished cage upon the table tears at the wires with her beak,
and goes walking, upside down, in its dome-top, shaking her house and
screeching; but Mr Carker is indifferent to the bird, and looks with a
musing smile at a picture on the opposite wall.

'A most extraordinary accidental likeness, certainly,' says he.

Perhaps it is a Juno; perhaps a Potiphar's Wife'; perhaps some scornful
Nymph--according as the Picture Dealers found the market, when they
christened it. It is the figure of a woman, supremely handsome, who,
turning away, but with her face addressed to the spectator, flashes her
proud glance upon him.

It is like Edith.

With a passing gesture of his hand at the picture--what! a menace? No;
yet something like it. A wave as of triumph? No; yet more like that. An
insolent salute wafted from his lips? No; yet like that too--he resumes