drag men forcibly into his chambers and compel them to be clients; and
he would not degrade the dignity of his calling by advertising for
clients, or taking any means whatever to get them, except by
establishing a reputation for professional learning and integrity. The
only inducement which he ever put in the way of clients, was a series of
signs, outside the street door, on the first flight of stairs, at the
head of the first landing, on the second flight of stairs, at the head
of the second landing, and so on to the fourth floor, where the firm
name of "Overtop & Maltboy" confronted the panting climber for the
eighth and last time, painted in large gold letters on black tin, nailed
to the office door.

Mr. Overtop was willing to give clients every facility for finding him,
when they had once started at the bottom of the building; and would, as
it were, lead them gently on, by successive signs; but good luck and a
good name, slowly but surely acquired, must do the rest.

A snug property, of which Mr. Overtop spent less than the income,
fortunately enabled him to indulge in these novel views, and to regard
clients, much as they were desired, as by no means indispensable to his
existence. In his unprofessional hours, Mr. Overtop was everything but a
lawyer. He was chiefly a philosopher, a discoverer, a searcher after
truth, a turner-up of undeveloped beauties in every-day things, which,
he said, were rich in instruction when intelligently examined. He could
trace out lines of beauty in a gridiron, and detect the subtle charm
that lurks in the bootjack.

As not unfrequently happens, in partnerships of business and of other
descriptions, Matthew Maltboy--the young man standing before the blazing
coal fire, and critically surveying his own person--was quite the
opposite of Fayette Overtop. Maltboy was fat and calm. Portraits were in
existence showing Maltboy as a young lad in a jacket and turn-down
collar, having a slim, graceful figure, a delicate face, and a sad but
interesting promise of early decay upon him. Other portraits, of the
same original, taken at later periods of the photographic art,
represented a gradual squaring out of the shoulders, a progressive
puffiness in the cheeks, lips, and hands, incipient folds in the chin,
and a prevalent swollen appearance over all of Matthew Maltboy that the
artist permitted the sun to copy.

Portraits of Maltboy for a series of years would have proved a valuable
contributio