62, Montpellier Square, full of canvases, stacked against the wall, which he had no room to hang.
He brought them home with him on his way back from the City, generally after dark, and would enter this room on Sunday afternoons, to spend hours turning the pictures to the light, examining the marks on their backs, and occasionally making notes.
They were nearly all landscapes with figures in the foreground, a sign of some mysterious revolt against London, its tall houses, its interminable streets, where his life and the lives of his breed and class were passed.

Every now and then he would take one or two pictures away with him in a cab, and stop at Jobson's on his way into the City.
He rarely showed them to anyone; Irene, whose opinion he secretly respected and perhaps for that reason never solicited, had only been into the room on rare occasions, in discharge of some wifely duty.

She was not asked to look at the pictures, and she never did.

To Soames this was another grievance.

He hated that pride of hers, and secretly dreaded it.
In the plate-glass window of the picture shop his image stood and looked at him.
His sleek hair under the brim of the tall hat had a sheen like the hat itself; his cheeks, pale and flat, the line of his clean-shaven lips, his firm chin with its greyish shaven tinge, and the buttoned strictness of his black cut-away coat, conveyed an appearance of reserve and secrecy, of imperturbable, enforced composure; but his eyes, cold,--grey, strained--looking, with a line in the brow between them, examined him wistfully, as if they knew of a secret weakness.
He noted the subjects of the pictures, the names of the painters, made a calculation of their values, but without the satisfaction he usually derived from this inward appraisement, and walked on.
No.