indicated with a twist of its matted head, was close at hand. So I left Mr. Baker's terrible trap (baited with a scum that was like the soapy rinsing of sooty chimneys), and made bold to ring at the workhouse gate, where I was wholly unexpected and quite unknown.
A very bright and nimble little matron, with a bunch of keys in her hand, responded to my request to see the House. I began to doubt whether the police magistrate was quite right in his facts, when I noticed her quick active little figure and her intelligent eyes.
The Traveller (the matron intimated) should see the worst first. He was welcome to see everything. Such as it was, there it all was.
This was the only preparation for our entering "the Foul wards." They were in an old building squeezed away in a corner of a paved yard, quite detached from the more modern and spacious main body of the workhouse. They were in a building most monstrously behind the time—a mere series of garrets or lofts, with every inconvenient and objectionable circumstance in their construction, and only accessible by steep and narrow staircases, infamously ill-adapted for the passage up-stairs of the sick or down-stairs of the dead.
A-bed in these miserable rooms, here on bedsteads, there (for a change, as I understood it) on the floor, were women in every stage of distress and disease. None but those who have attentively observed such scenes, can conceive the extraordinary variety of expression still latent under the general monotony and uniformity of colour, attitude, and condition. The form a little coiled up and turned away, as though it had turned its back on this world for ever; the uninterested face at once lead-coloured and yellow, looking passively upward from the pillow; the haggard mouth a little dropped, the hand outside the coverlet, so dull and indifferent, so light, and yet so heavy; these were on every pallet; but when I stopped beside a bed, and said ever so slight a word to the figure lying there, the ghost of the old character came into
