How does O. Henry use imagery in Mammon and the Archer?

Imagery:

His neighbour to the right—the aristocratic clubman, G. Van Schuylight Suffolk–Jones—came out to his waiting motor–car, wrinkling a contumelious nostril, as usual, at the Italian renaissance sculpture of the soap palace's front elevation.

When young Rockwall entered the library the old man laid aside his newspaper, looked at him with a kindly grimness on his big, smooth, ruddy countenance, rumpled his mop of white hair with one hand and rattled the keys in his pocket with the other.