The Old Adam A Story of Adventure(with active TOC)

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An excerpt from the book:
The drawing-room, after the bathroom, was Edward Henry's favourite district in the home. Since he could not spend the whole of his time in the bathroom,--and he could not!--he wisely gave a special care to the drawing-room, and he loved it as one always loves that upon which one has bestowed benefits. He was proud of the drawing-room, and he had the right to be. The principal object in it, at night, was the electric chandelier, which would have been adequate for a lighthouse. Edward Henry's eyes were not what they used to be; and the minor advertisements in the Signal, which constituted his sole evening perusals, often lacked legibility. Edward Henry sincerely believed in light and heat; he was almost the only person in the Five Towns who did. In the Five Towns people have fires in their grates--not to warm the room, but to make the room bright. Seemingly they use their pride to keep themselves warm. At any rate, whenever Edward Henry talked to them of radiators, they would sternly reply that a radiator did not and could not brighten a room. Edward Henry had made the great discovery that an efficient chandelier will brighten a room better even than a fire; and he had gilded his radiator. The notion of gilding the radiator was not his own; he had seen a gilded radiator in the newest hotel at Birmingham, and had rejoiced as some peculiar souls rejoice when they meet a fine line in a new poem. (In concession to popular prejudice, Edward Henry had fire-grates in his house, and fires therein during exceptionally frosty weather; but this did not save him from being regarded in the Five Towns as in some ways a peculiar soul.) The effulgent source of dark heat was scientifically situated in front of the window, and on ordinarily cold evenings Edward Henry and his wife and mother, and an acquaintance if one happened to come in, would gather round the radiator and play bridge or dummy whist.
The other phenomena of the drawing-room which particularly interested Edward Henry were the Turkey carpet, the four vast easy chairs, the sofa, the imposing cigar-cabinet, and the mechanical piano-player. At one brief period he had hovered a good deal about the revolving bookcase containing the encyclopedia, to which his collection of books was limited; but the frail passion for literature had not survived a struggle with the seductions of the mechanical piano-player.
The walls of the room never drew his notice. He had chosen, some years before, a patent washable kind of wall-paper (which could be wiped over with a damp cloth), and he had also chosen the pattern of the paper, but it is a fact that he could spend hours in any room without even seeing the pattern of its paper. In the same way, his wife's cushions and little draperies and bows were invisible to him, though he had searched for and duly obtained the perfect quality of swansdown which filled the cushions.
The one ornament of the walls which attracted him was a large and splendidly framed oil-painting of a ruined castle in the midst of a sombre forest through which cows were strolling. In the tower of the castle was a clock, and this clock was a realistic timepiece whose fingers moved and told the hour. Two of the oriel windows of the castle were realistic holes in its masonry; through one of them you could put a key to wind up the clock, and through the other you could put a key to wind up a secret musical box which played sixteen different tunes. He had bought this handsome relic of the Victorian era (not less artistic, despite your scorn, than many devices for satisfying the higher instincts of the present day) at an auction sale in the Strand, London. But it, too, had been supplanted in his esteem by the mechanical piano-player.
He now selected an example of the most expensive cigar in the cigar-cabinet, and lighted it as only a connoisseur can light a cigar--lovingly; he blew out the match lingeringly, wi