The landlady’s room in the ‘Serbia.’ Yellow wallpaper; two windows with dirty muslin curtains; between them an oval squinting mirror, stuck at an angle of forty-five degrees, reflects a painted floor and chair legs; on the window-sills dusty, pimply cactuses; a cage with a canary hangs from the ceiling. The room is partitioned off by red screens of printed calico: the smaller part on the left is the bedroom of the landlady and her children; that on the right is blocked up with varied odds and ends of furniture—bedridden, rickety, and lame. In the corners all kinds of rubbish are in chaotic cobwebbed heaps: a sextant in a ginger leather case, and with it a tripod and a chain, some old trunks and boxes, a guitar without strings, hunting boots, a sewing machine, a ‘Monopan’ musical box, a camera, about five lamps, piles of books, dresses, bundles of linen, and a great many things besides. All these things had been detained at various times by the landlady for rent unpaid, or left behind by runaway lodgers. You cannot move in the room because of them.