A ponderous ebony inkstand, with solid cut-glass receptacles, one being intended for powder, though none was ever put in it, a mighty dictionary, which, being too heavy to be considered movable, occupied one corner of the table by itself: the earthen tobacco-jar, with a small piece chipped from the cover; pamphlets and books, standing or lying upon one another; heaps of rusty steel and blunted quill pens; a quire or two of blue and white letter-paper; a paper-knife, loose in the handle, but smooth of edge; a box of lucifer matches, and several burnt ends; an extra pipe or two; the professor's straw hat; a brass rack for holding letters and cards; and a great deal of pink blotting-paper scattered about everywhere.
Opposite the table stood a chair, straight-backed and severe, in which Professor Valeyon always sat when at work.

He had a theory that it was not well to be too much at bodily ease when intellectually occupied.
Directly behind the chair, upon the shelf of a bookcase, stood a plaster cast of Shakespeare's face, the nose of which was most unaccountably darkened and polished.

It is doubtful whether even the professor himself could have cleared up the mystery of this deepened color in the immortal bard's nose.

But whoever, during those hours set apart by the old gentleman for solitary labor and meditation, had happened to peep in at the window, would, ten to one, have beheld him tilted thoughtfully back in his chair, abstractedly tweaking, with the forefinger and thumb of his right hand, the sacred feature in question.

He had done it every day, for many years past, and never once found himself out, and, doubtless, the great poet was far too broad-minded ever to think of resenting the liberty, especially as it was only in his most thoughtful moments that the professor meddled with him.
The room contained little else in the way of furniture, except a few extra chairs, and a malacca-joint cane, with an ivory head, which stood in a corner near the door.