Stephen selects a doorway, and ascends an old though wide wooden staircase, with moulded balusters and handrail, which in a country manor-house would be considered a noteworthy specimen of Renaissance workmanship. He reaches a door on the first floor, over which is painted, in black letters, 'Mr. Henry Knight'--'Barrister-at-law' being understood but not expressed. The wall is thick, and there is a door at its outer and inner face. The outer one happens to be ajar: Stephen goes to the other, and taps.

'Come in!' from distant penetralia.

First was a small anteroom, divided from the inner apartment by a wainscoted archway two or three yards wide. Across this archway hung a pair of dark-green curtains, making a mystery of all within the arch except the spasmodic scratching of a quill pen. Here was grouped a chaotic assemblage of articles--mainly old framed prints and paintings--leaning edgewise against the wall, like roofing slates in a builder's yard. All the books visible here were folios too big to be stolen--some lying on a heavy oak table in one corner, some on the floor among the pictures, the whole intermingled with old coats, hats, umbrellas, and walking-sticks.

Stephen pushed aside the curtain, and before him sat a man writing away as if his life depended upon it--which it did.

A man of thirty in a speckled coat, with dark brown hair, curly beard, and crisp moustache: the latter running into the beard on each side of the mouth, and, as usual, hiding the real expression of that organ under a chronic aspect of impassivity.