end." Silas Wegg has come to fulfill his engagement to
read aloud to them the "Decline and Fall of the Roman Empire:"--

"It was the queerest of rooms, fitted and furnished more like a
luxurious amateur tap-room than anything else within the ken of Silas
Wegg. There were two wooden settles by the fire, one on either side of
it, with a corresponding table before each. On one of these tables the
eight volumes were ranged flat, in a row like a galvanic battery; on
the other, certain squat case-bottles of inviting appearance seemed to
stand on tiptoe to exchange glances with Mr. Wegg over a front row of
tumblers and a basin of white sugar. On the hob, a kettle steamed; on,
the hearth, a cat reposed. Facing the fire between the settles, a
sofa, a footstool, and a little table formed a centrepiece devoted to
Mrs. Boffin. They were garish in taste and color, but were expensive
articles of drawing-room furniture that had a very odd look beside the
settles and the flaring gaslight pendant from the ceiling. There was a
flowery carpet on the floor; but, instead of reaching to the
fireside, its glowing vegetation stopped short at Mrs. Boffin's
footstool, and gave place to a region of sand and sawdust. Mr. Wegg
also noticed, with admiring eyes, that, while the flowery land
displayed such hollow ornamentation as stuffed birds, and waxen fruits
under glass shades, there were, in the territory where vegetation
ceased, compensatory shelves on which the best part of a large pie and
likewise of a cold joint were plainly discernible among other solids.
The room itself was large, though low; and the heavy frames of its
old-fashioned windows, and the heavy beams in its crooked ceiling,
seemed to indicate that it had once been a house of some mark standing
alone in the country."

Neither Boffin nor Mrs. Boffin appears in this descriptive paragraph;
yet many of the idiosyncrasies of each are suggested by the
conglomeration of queer belongings that they have gathered round
them.

The student of the art of fiction may find profitable exercise in
practising separately the various means of portraying character which
have been illustrated in this chapter; but, as was stated at the
outset, he should always remember that these means are seldom used by
the great artists singly, but are generally employed to complement
each other in contributing to a central impression. The character of
Becky Sharp, for instance, is delineated indirectly through her