The drawing-room in the Avenue was small, with two narrow windows to it; the walls were papered with an æsthetic dado of bulrushes and water weeds, on a pea-green base; above that ran a pattern picked out with gold, a self-assertive paper. Above the marble mantelshelf was a chimney-piece of looking-glasses and shelves, on which stood several pieces of cheap modern china, mostly Japanese, such as are seen outside Glaves in Oxford Street, in baskets, labelled, "Any of this lot for 2d."
Against the wall opposite the windows were two blue Delft plates, hung by wires. Between the windows was the miniature of the father of Mrs. Welsh, once a carriage-man, but not looking it, wearing the uniform of a marine officer, and the languishment of a lover. He was represented with a waxy face, a curl on his brow, and either water or wadding on his chest.
Upon the table were books radiating from a central opal specimen glass that contained three or four dry everlastings, smelling like corduroys; and the books in very bright cloth had their leaves glued together with the gilding.
Unhappy, occupied with her own trouble though Arminell was, yet she noted these things because they were so different from that to which she was accustomed. Perhaps the rawness of the decoration, the strain after impossible effect, struck Arminell more than the lack of taste. She had been accustomed to furniture and domestic decoration pitched in a key below that of the occupants, but here everything was screwed up above that of such as were supposed to use the room. Elsewhere she had seen chairs and sofas to be sat on, carpets to be walked on, books to be read, wall papers to be covered with paintings. Here even the sun was not allowed to touch the carpet, and the chairs were to be made use of gingerly, and the fire-irons not to be employed at all, and the grate most rarely. After Arminell had spent half-an-hour in this parlour, the whole house
