She follows him across hall and corridor, through two modern rooms, and past a _portière_, into another and larger hall beyond. Here, standing before a heavy oaken doer, he turns the handle of it, and, as it swings back slowly and sleepily, they pass into another room, so unexpectedly and so strangely different from any they have yet entered, as almost to make one start. It is a huge old-fashioned apartment, stone-floored and oak panelled, that once, in olden days, must have been a refectory. Chairs carved in oak, and built like bishops' thrones, line the walls, looking as though no man for many a hundred years has drawn them from their present position. Massive cabinets and cupboards, cunningly devised by crafty hands in by-gone days, look out from dusky corners, the hideous faces carved upon them wreathed in their eternal ghastly smiles. From narrow, painted windows great gleams of sunset from the gay world without pour in, only to look sadly out of place in the solemn gloomy room. But one small door divides it from the halls outside; yet centuries seem to roll between it and them. In one corner a door lies half open, and behind it a narrow flight of stairs runs upward to a turret chamber above,--a tiny stairway, heavily balustraded and uncarpeted, that creates in one a mad desire to ascend and learn the secrets that may lie at its top. Miss Peyton, scarce noticing the monkish refectory, runs to the stairs and mounts them eagerly, Sir James following her in a more leisurely fashion. "Now for my own room," she says, with some degree of quickness in her tone. She reaches the turret chamber as she speaks, and looks around her. It is quite a circle, and apparently of the same date as the one they have just quitted. Even the furniture, though of lighter make and size, is of a similar age and pattern. Ugly little chairs and unpleasantly solid tables are dotted here and there, a perfect wealth of Old-World work cut into them. Everything is carved, and to an unsympathetic observer it might occur that the carver must have been a person subject to fiendish visions and unholy nightmares. But no doubt the beauty of his designs lies in their ugliness, and his heads are a marvel of art, and his winged creatures priceless! The high chimney-piece is _en rapport_ with all the rest, and scowls unceasingly; and the very windows--long and deep--have little faces carved on either side of them, of the most diabolical. Miss Peyton is plainly entranced with the whole scene, and for a full minute says nothing. "I feel as though I were a child again," she says, presently, as though half regretful. "Everything comes back to me with such a strange yet tender vividness. This, I remember, was my favorite table, this my favorite chair. And that little winged monster over there, he used to whisper in my ears more thrilling tales than either Grimm or Andersen. Have you never moved anything in all these years?"