relations. They were not a handsome family; family portraits, as a rule,[4] when the sun is the painter, are not remarkable for beauty, but these were a worse lot than usual. In their painful anxiety to exhibit themselves in a favourable light, Mrs. Preedy’s relations had leered and stared to such a degree that it must have been no easy matter for them to get their features back into their natural shape after the photographer in the City Road was done with them. To make things worse, they were in their Sunday clothes, and if they had just been going into the penitentiary they could not have looked more unhappy and uncomfortable.

[4]

On the mantelpiece, also, were two odd broken lustres which, in the course of their chequered career, had lost half their crystal drops; two fat vases, with a neat device of cabbage roses painted on them; an erratic clock, whose vagaries supplied a healthy irritant to its mistress; and a weather indicator, in the shape of an architectural structure representing two rural bowers, in one of which, suspended on catgut, dwelt an old wooden farmer, and in the other, also suspended on[5] catgut, a young wooden woman. When the weather was going to be stormy, the wooden old farmer swung out, and with an assumption of preternatural wisdom stared vacantly before him; when it was going to be fine, the wooden young woman made her appearance, with a smirk and a leer indicative of weak brains. They never appeared together; when one was in the other was out; and that they were more frequently wrong than right in their vaticinations concerning the weather (being out when they ought to have been in, and in when they ought to have been out: which, in an odd way, has a political signification) did not in the slightest degree affect the wooden impostors. In this respect they were no worse than other impostors, not made of wood, who set themselves up as prophets (announcing, for instance, from time to time, the end of the world), and exhibit no sense of shame at the continual confounding of their predictions.

[5]

The other furnishings of the room were in keeping. The kitchen range; the dresser,[6] with its useful array of plates and dishes, and pots and pans; the sideboard, with its obstinate drawers, which, when they did allow themselves to be pulled out, gave way with a suddenness which brought confusion on the operator; the six odd chairs, one of black horsehair, bits of which peeped up, curious to see what was going on; one very sad, of green rep, representing faded gentility; two of wood and two of cane, and all of different breeds; the sofa, with a treacherous sinking in its inside, 

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