On the walls Michael’s pictures had been collected to achieve through another medium the effect of his books. Mona Lisa was there not for her lips or eyes, but rather for that labyrinth of rocks and streams behind; and since pictures seldom could be found to provide what he sought in a picture, there were very few of them in his sitting-room. One hour of the Anatomy of Melancholy or of Urn Burial could always transform the pattern of the terra-cotta wall paper to some diagrammatic significance. Apart from the accumulation of books and pictures, he had changed the room scarcely at all. Curtains and covers, chairs and tables, all preserved the character of the room itself as something that existed outside the idiosyncrasies of the transient inhabitants who read and laughed and ate and talked for so comparatively fleeting a space of time between its four walls. With all that he had imposed of what in the opinion of his contemporaries were eccentricities of adornment, the rooms remained, as he would observe to any critic, essentially the same as his own. Instead of college groups which marked merely by the height of the individual’s waistcoat-opening the almost intolerable fugacity of their record, there were Leonardo and Blake and Frederick Walker to preserve the illusion of permanence, or at least of continuity. Instead of the bleached and desiccated ribs of momentarily current magazines cast away in sepulchral indignity, there were a hundred quartos whose calf bindings had the durableness and sober depth of walnut furniture, furniture, moreover, that was still in use.