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This eBook from the Gutenberg Project consists of approximately 161 pages of information about Jacob's Room.

The house was flat, dark, and silent.  Jacob was at home engaged upon a chess problem, the board being on a stool between his knees.  One hand was fingering the hair at the back of his head.  He slowly brought it forward and raised the white queen from her square; then put her down again on the same spot.  He filled his pipe; ruminated; moved two pawns; advanced the white knight; then ruminated with one finger upon the bishop.  Now Fanny Elmer passed beneath the window.

She was on her way to sit to Nick Bramham the painter.

She sat in a flowered Spanish shawl, holding in her hand a yellow novel.

“A little lower, a little looser, so—­better, that’s right,” Bramham mumbled, who was drawing her, and smoking at the same time, and was naturally speechless.  His head might have been the work of a sculptor, who had squared the forehead, stretched the mouth, and left marks of his thumbs and streaks from his fingers in the clay.  But the eyes had never been shut.  They were rather prominent, and rather bloodshot, as if from staring and staring, and when he spoke they looked for a second disturbed, but went on staring.  An unshaded electric light hung above her head.

As for the beauty of women, it is like the light on the sea, never constant to a single wave.  They all have it; they all lose it.  Now she is dull and thick as bacon; now transparent as a hanging glass.  The fixed faces are the dull ones.  Here comes Lady Venice displayed like a monument for admiration, but carved in alabaster, to be set on the mantelpiece and never dusted.  A dapper brunette complete from head to foot serves only as an illustration to lie upon the drawing-room table.  The women in the streets have the faces of playing cards; the outlines accurately filled in with pink or yellow, and the line drawn tightly round them.  Then, at a top-floor window, leaning out, looking down, you see beauty itself; or in the corner of an omnibus; or squatted in a ditch—­beauty glowing, suddenly expressive, withdrawn the moment after.  No one can count on it or seize it or have it wrapped in paper.  Nothing is to be won from the shops, and Heaven knows it would be better to sit at home than haunt the plate-glass windows in the hope of lifting the shining green, the glowing ruby, out of them alive.  Sea glass in a saucer loses its lustre no sooner than silks do.  Thus if you talk of a beautiful woman you mean only something flying fast which for a second uses the eyes, lips, or cheeks of Fanny Elmer, for example, to glow through.

She was not beautiful, as she sat stiffly; her underlip too prominent; her nose too large; her eyes too near together.  She was a thin girl, with brilliant cheeks and dark hair, sulky just now, or stiff with sitting.  When Bramham snapped his stick of charcoal she started.  Bramham was out of temper.  He squatted before the gas fire warming his hands.  Meanwhile she looked at his drawing.  He grunted.  Fanny threw on a dressing-gown and boiled a kettle.

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