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“Tom,” he says, “what a mystery hangs over you!”

“Yes, Mr. Click”–the rest of the house generally give him his name, as being first, front, carpeted all over, his own furniture, and if not mahogany, an out-and-out imitation–“yes, Mr. Click, a mystery does hang over me.”

“Makes you low, you see, don’t it?” says he, eyeing me sideways.

“Why, yes, Mr. Click, there are circumstances connected with it that have,” I yielded to a sigh, “a lowering effect.”

“Gives you a touch of the misanthrope too, don’t it?” says he. “Well, I’ll tell you what. If I was you, I’d shake it of.”

“If I was you, I would, Mr. Click; but, if you was me, you wouldn’t.”

“Ah!” says he, “there’s something in that.”

When we had walked a little further, he took it up again by touching me on the chest.

“You see, Tom, it seems to me as if, in the words of the poet who wrote the domestic drama of The Stranger, you had a silent sorrow there.”

“I have, Mr. Click.”

“I hope, Tom,” lowering his voice in a friendly way, “it isn’t coining, or smashing?”

“No, Mr. Click. Don’t be uneasy.”

“Nor yet forg- ” Mr. Click checked himself, and added, “counterfeiting anything, for instance?”

“No, Mr. Click. I am lawfully in the Art line–Fine-Art line–but I can say no more.”

“Ah! Under a species of star? A kind of malignant spell? A sort of a gloomy destiny? A cankerworm pegging away at your vitals in secret, as well as I make it out?” said Mr. Click, eyeing me with some admiration.

I told Mr. Click that was about it, if we came to particulars; and I thought he appeared rather proud of me.

Our conversation had brought us to a crowd of people, the greater part struggling for a front place from which to see something on the pavement, which proved to be various designs executed in coloured chalks on the pavement stones, lighted by two candles stuck in mud sconces. The subjects consisted of a fine fresh salmon’s head and shoulders, supposed to have been recently sent home from the fishmonger’s; a moonlight night at sea (in a circle); dead game; scroll-work; the head of a hoary hermit engaged in devout contemplation; the head of a pointer smoking a pipe; and a cherubim, his flesh creased as in infancy, going on a horizontal errand against the wind. All these subjects appeared to me to be exquisitely done.

On his knees on one side of this gallery, a shabby person of modest appearance who shivered dreadfully (though it wasn’t at all cold), was engaged in blowing the chalk-dust off the moon, toning the outline of the back of the hermit’s head with a bit of leather, and fattening the down-stroke of a letter or two in the writing. I have forgotten to mention that writing formed a part of the composition, and that it also–as it appeared to me–was exquisitely done. It ran as follows, in fine round characters: “An honest man is the noblest work of God. 1 2 3 4 5 6 7 8 9 0. Pounds s. d. Employment in an office is humbly requested. Honour the Queen. Hunger is a 0 9 8 7 6 5 4 3 2 1 sharp thorn. Chip chop, cherry chop, fol de rol de ri do. Astronomy and mathematics. I do this to support my family.”

Murmurs of admiration at the exceeding beauty of this performance went about among the crowd. The artist, having finished his touching (and having spoilt those places), took his seat on the pavement, with his knees crouched up very nigh his chin; and halfpence began to rattle in.

“A pity to see a man of that talent brought so low; ain’t it?” said one of the crowd to me.

“What he might have done in the coach-painting, or house- decorating!” said another man, who took up the first speaker because I did not.