With Madame de Montrond, Hyacinth had been reared, partly in a mediaeval mansion, with a portcullis and four squat towers, near the Château d’Arques, and partly in Paris, where the lady had a fine house in the Marais. The sisters had never looked upon each other’s faces, Angela having entered upon the troubled scene after Hyacinth had been carried across the Channel to her grandmother. And now the father was racked with anxiety lest evil should befall that elder daughter in the war between Mazarin and the Parliament, which was reported to rage with increasing fury. Angela’s awakening reason became conscious of a world where all was fear and sadness. The stories she heard in her childhood were stories of that fierce war which was reaching its disastrous close while she was in her cradle. She was told of the happy peaceful England of old, before darkness and confusion gathered over the land; before the hearts of the people were set against their King by a wicked and rebellious Parliament. She heard of battles lost by the King and his partisans; cities besieged and taken; a flash of victory followed by humiliating reverses; the King’s party always at a disadvantage; and hence the falling away of the feeble and the false, the treachery of those who had seemed friends, the impotence of the faithful. Angela heard so often and so much of these things—from old Lady Kirkland, her grandmother, and from the grey-haired servants at the manor—that she grew to understand them with a comprehension seemingly far beyond her tender years. But a child so reared is inevitably older than her years. This little one had never known childish pleasures or play, childish companions or childish fancies. She roamed about the spacious gardens, full of saddest thoughts, burdened with all the cares that weighed down that kingly head yonder; or she stood before the pictured face of the monarch with clasped hands and tearful eyes, looking up at him with the adoring compassion of a child prone to hero-worship—thinking of him already as saint and martyr—whose martyrdom was not yet consummated in blood. King Charles had presented his faithful servant, Sir John Kirkland, with a half-length replica of one of his Vandyke portraits, a beautiful head, with a strange inward look—that look of isolation and aloofness which we who know his story take for a prophecy of doom—which the sculptor Bernini had remarked, when he modelled the royal head for marble. The picture hung in the place of honour in the long narrow gallery at the Manor Moat, with trophies of Flodden and Zutphen arranged against the blackened oak panelling above it. The Kirklands had been a race of soldiers since the days of Edward III. The house was full of war-like decorations—tattered colours, old armour, memorials of fighting Kirklands who had long been dust.