the morrow. Mr Weevle and Mr Guppy then repair to Cook’s Court, Cursitor Street, where the personal introduction of the former to Mr Snagsby is effected and (more important) the vote and interest of Mrs Snagsby are secured. They then report progress to the eminent Smallweed, waiting at the office in his tall hat for that purpose, and separate; Mr Guppy explaining that he would terminate his little entertainment by standing treat at the play but that there are chords in the human mind which would render it a hollow mockery.

On the morrow, in the dusk of evening, Mr Weevle modestly appears at Krook’s, by no means incommoded with luggage, and establishes himself in his new lodging; where the two eyes in the shutters stare at him in his sleep, as if they were full of wonder. On the following day Mr Weevle, who is a handy good-for- nothing kind of young fellow, borrows a needle and thread of Miss Flite, and a hammer of his landlord and goes to work devising apologies for window-curtains, and knocking up apologies for shelves, and hanging up his two teacups, milkpot, and crockery sundries on a pennyworth of little hooks, like a shipwrecked sailor making the best of it.

But what Mr Weevle prizes most of all his few possessions (next after his light whiskers, for which he has an attachment that only whiskers can awaken in the breast of man) is a choice collection of copper- plate impressions from that truly national work, The Divinities of Albion, or Galaxy Gallery of British Beauty, representing ladies of title and fashion in every variety of smirk that art, combined with capital, is capable of producing. With these magnificent portraits, unworthily confined in a band-box during his seclusion among the market-gardens, he decorates his apartment; and as the Galaxy Gallery of British Beauty wears every variety of fancy dress, plays every variety of musical instrument, fondles every variety of dog, ogles every variety of prospect, and is backed up by every variety of flower-pot and balustrade, the result is very imposing.

But fashion is Mr Weevle’s, as it was Tony Jobling’s, weakness. To borrow yesterday’s paper from the Sol’s Arms of an evening, and read about the brilliant and distinguished meteors that are shooting across the fashionable sky in every direction is unspeakable consolation to him. To know what member of what brilliant and distinguished circle accomplished the brilliant and distinguished feat of joining it yesterday or contemplates the no less brilliant and distinguished feat of leaving it to-morrow, gives him a thrill of joy. To be informed what the Galaxy Gallery of British Beauty is about, and means to be about, and what Galaxy marriages are on the tapis, and what Galaxy rumours are in circulation, is to become acquainted with the most glorious destinies of mankind. Mr Weevle reverts from this intelligence to the Galaxy portraits implicated, and seems to know the originals, and to be known of them.

For the rest he is a quiet lodger, full of handy shifts and devices as before mentioned, able to cook and clean for himself as well as to carpenter, and developing social inclinations after the shades of evening have fallen on the court. At those times, when he is not visited by Mr Guppy, or by a small light in his likeness quenched in a dark hat, he comes out of his dull room — where he has inherited the deal wilderness of desk bespattered with a rain of ink — and talks to Krook or is “very free,” as they call it in the court, commendingly, with any one disposed for conversation. Wherefore, Mrs Piper, who leads the court, is impelled to offer two remarks to Mrs Perkins: firstly, that if her Johnny was to have whiskers, she could wish ’em to be identically like that young man’s; and secondly, “Mark my words, Mrs Perkins, ma’am, and don’t you be surprised Lord bless you, if that young man comes in at last for old Krook’s money!”