the lamplight, and he picked it up.
It was a heavy lump of glass, curved on one side, flat on the other, making almost a hemisphere. There was a peculiar softness, as of rainwater, in both the color and the texture of the glass. At the heart of it, magnified by the curved surface, there was a strange, pink, convoluted object that recalled a rose or a sea anemone.
"What is it?" said Winston, fascinated.
"That's coral, that is," said the old man. "It must have come from the Indian Ocean. They used to kind of embed it in the glass. That wasn't made less than a hundred years ago. More, by the look of it."
"It's a beautiful thing," said Winston.
"It is a beautiful thing," said the other appreciatively. "But there's not many that'd say so nowadays." He coughed. "Now, if it so happened that you wanted to buy it, that'd cost you four dollars. I can remember when a thing like that would have fetched eight pounds, and eight pounds was—well, I can't work it out, but it was a lot of money. But who cares about genuine antiques nowadays—even the few that's left?"
Winston immediately paid over the four dollars and slid the coveted thing into his pocket. What appealed to him about it was not so much its beauty as the air it seemed to possess of belonging to an age quite different from the present one. The soft, rainwatery glass was not like any glass that he had ever seen. The thing was doubly attractive because of its apparent uselessness, though he could guess that it must once have been intended as a paperweight. It was very heavy in his pocket, but fortunately it did not make much of a bulge. It was a queer thing, even a compromising thing, for a Party member to have in his possession. Anything old, and for that matter anything beautiful, was always vaguely suspect. The old man had grown noticeably more cheerful after receiving the four dollars. Winston realized that he would have accepted three or even two.
"There's another room upstairs that you might care to take a look at," he said. "There's not much in it. Just a few pieces. We'll do with a light if we're going upstairs."
He lit another lamp and, with bowed back, led the way slowly up the steep and worn stairs and along a tiny passage, into a room which did not give on the street but looked out on a cobbled yard and a forest of chimney pots. Winston noticed that the furniture was still arranged as though the room were meant to be lived in. There was a strip of carpet on the floor, a picture or two on the walls, and a deep, slatternly armchair drawn up to the fireplace. An old-fashioned glass clock with a twelve-hour face was ticking away on the mantlepiece. Under the window, and occupying nearly a quarter of the room, was an enormous bed with the mattress still on it.
"We lived here till my wife died," said the old man half apologetically. "I'm selling the furniture off by little and little. Now that's a beautiful mahogany bed, or at least it would be if you could get the bugs out of it. But I dare say you'd find it a little bit cumbersome."
He was holding the lamp high up, so as to illumine the whole room, and in the warm dim light the place looked curiously inviting. The thought flitted through Winston's mind that it would probably be quite easy to rent the room for a few dollars a week, if he dared to take the risk. It was a wild, impossible notion, to be abandoned as soon as thought of; but the room had awakened in him a sort of nostalgia, a sort of ancestral memory. It seemed to him that he knew exactly what it felt like to sit in a room like this, in an armchair beside an open fire with your feet in the fender and a kettle on the hob, utterly alone, utterly secure, with nobody watching you, no voice pursuing you, no sound except the singing of the kettle and the friendly ticking of the clock.
"There's no telescreen!" he could not help murmuring.
"Ah," said the old man, "I never had one of those things. Too expensive. And I never seemed to feel the need of it, somehow. Now that's a nice gateleg table in the corner there. Though of course you'd have to put new hinges on it if you wanted to use the flaps."
There was a small bookcase in the other corner, and Winston had already gravitated toward it. It contained nothing but rubbish. The hunting-down and destruction of books had been done with the same thoroughness in the prole quarters as everywhere else. It was very unlikely that there existed anywhere in Oceania a copy of a book printed earlier than 1960. The old man, still carrying the lamp, was standing in front of a picture in a rosewood frame which hung on the other side of the fireplace, opposite the bed.
"Now, if you happen to be interested in old prints at all—" he began delicately.
Winston came across to examine the picture. It was a steel engraving of an oval building with rectangular windows, and a small tower in front. There was a railing running round the building, and at the rear end there was what appeared to be a statue. Winston gazed at it for some moments. It seemed vaguely familiar, though he did not remember the statue.
"The frame's fixed to the wall," said the old man, "but I could unscrew it for you, I dare say."
"I know that building," said Winston finally. "It's a ruin now. It's in the middle of the street outside the Palace of Justice."
"That's right. Outside the Law Courts. It was bombed in—oh, many years ago. It was a church at one time. St. Clement's Dane, its name was." He smiled apologetically, as though conscious of saying something slightly ridiculous, and added: "Oranges and lemons, say the bells of St. Clement's!"
"What's that?" said Winston.
"Oh—Oranges and lemons, say the bells of St. Clement's. That was a rhyme we had when I was a little boy. How it goes on I don't remember, but I do know it ended up, Here comes a candle to light you to bed, Here comes a chopper to chop off your head. It was a kind of a dance. They held out their arms for you to pass under, and when they came to Here comes a chopper to chop off your head they brought their arms down and caught you. It was just names of churches. All the London churches were in it—all the principal ones, that is."
Winston wondered vaguely to what century the church belonged. It was always difficult to determine the age of a London building. Anything large and impressive, if it was reasonably new in appearance, was automatically claimed as having been built since the Revolution, while anything that was obviously of earlier date was ascribed to some dim period called the Middle Ages. The centuries of capitalism were held to have produced nothing of any value. One could not learn history from architecture any more than one could learn it from books. Statues, inscriptions, memorial stones, the names of streets—anything that might throw light upon the past had been systematically altered.
"I never knew it had been a church," he said.
"There's a lot of them left, really," said the old man, "though they've been put to other uses. Now, how did that rhyme go? Ah! I've got it!
Oranges and lemons, say the bells of St. Clement's, You owe me three farthings, say the bells of St. Martin's—
there, now, that's as far as I can get. A farthing, that was a small copper coin, looked something like a cent."
"Where was St. Martin's?" said Winston.
"St. Martin's? That's still standing. It's in Victory Square, alongside the picture gallery. A building with a kind of a triangular porch and pillars in front, and a big flight of steps."
Winston knew the place well. It was a museum used for propaganda displays of various kinds—scale models of rocket bombs and Floating Fortresses, waxwork tableaux illustrating enemy atrocities, and the like.
"St. Martin's in the Fields it used to be called," supplemented the old man, "though I don't recollect any fields
