“All right!” cries Phil, scrambling to his feet.

“Anything been doing?”

“Flat as ever so much swipes,” says Phil.  “Five dozen rifle and a dozen pistol.  As to aim!” Phil gives a howl at the recollection.

“Shut up shop, Phil!”

As Phil moves about to execute this order, it appears that he is lame, though able to move very quickly.  On the speckled side of his face he has no eyebrow, and on the other side he has a bushy black one, which want of uniformity gives him a very singular and rather sinister appearance.  Everything seems to have happened to his hands that could possibly take place consistently with the retention of all the fingers, for they are notched, and seamed, and crumpled all over.  He appears to be very strong and lifts heavy benches about as if he had no idea what weight was.  He has a curious way of limping round the gallery with his shoulder against the wall and tacking off at objects he wants to lay hold of instead of going straight to them, which has left a smear all round the four walls, conventionally called “Phil’s mark.”

This custodian of George’s Gallery in George’s absence concludes his proceedings, when he has locked the great doors and turned out all the lights but one, which he leaves to glimmer, by dragging out from a wooden cabin in a corner two mattresses and bedding.  These being drawn to opposite ends of the gallery, the trooper makes his own bed and Phil makes his.

“Phil!” says the master, walking towards him without his coat and waistcoat, and looking more soldierly than ever in his braces.  “You were found in a doorway, weren’t you?”

“Gutter,” says Phil.  “Watchman tumbled over me.”

“Then vagabondizing came natural to you from the beginning.”

“As nat’ral as possible,” says Phil.

“Good night!”

“Good night, guv’ner.”

Phil cannot even go straight to bed, but finds it necessary to shoulder round two sides of the gallery and then tack off at his mattress.  The trooper, after taking a turn or two in the rifle-distance and looking up at the moon now shining through the skylights, strides to his own mattress by a shorter route and goes to bed too.

CHAPTER XXII

Mr. Bucket

Allegory looks pretty cool in Lincoln’s Inn Fields, though the evening is hot, for both Mr. Tulkinghorn’s windows are wide open, and the room is lofty, gusty, and gloomy.  These may not be desirable characteristics when November comes with fog and sleet or January with ice and snow, but they have their merits in the sultry long vacation weather.  They enable Allegory, though it has cheeks like peaches, and knees like bunches of blossoms, and rosy swellings for calves to its legs and muscles to its arms, to look tolerably cool to-night.

Plenty of dust comes in at Mr. Tulkinghorn’s windows, and plenty more has generated among his furniture and papers.  It lies thick everywhere.  When a breeze from the country that has lost its way takes fright and makes a blind hurry to rush out again, it flings as much dust in the eyes of Allegory as the law—­or Mr. Tulkinghorn, one of its trustiest representatives—­may scatter, on occasion, in the eyes of the laity.