There had been silence on the river, the silence of a deserted city at eventide; but that had seemed as nothing to the stillness of this marble-paved hall, where the sunset was reflected on the dark oak panelling in one lurid splash like blood. Not a mortal to be seen. Not a sound of voice or footstep. A crowd of gods and goddesses in draperies of azure and crimson, purple and orange, looked down from the ceiling. Curtains of tawny velvet hung beside the shuttered windows. A great brazen candelabrum, filled with half-consumed candles, stood tall and splendid at the foot of a wide oak staircase, the banister-rail whereof was cushioned with tawny velvet. Splendour of fabric, wood and marble, colour and gilding, showed on every side; but of humanity there was no sign. Angela shuddered at the sight of all that splendour, as if death were playing hide and seek in those voluminous curtains, or were lurking in the deep shadow which the massive staircase cast across the hall. She looked about her, full of fear, then seeing a silver bell upon the table, she took it up and rang it loudly. Upon the same carved ebony table there lay a plumed hat, a cane with an amber handle, and a velvet cloak neatly folded, as if placed ready for the master of the house, when he went abroad; but looking at these things closely, even in that dim light, she saw that cloak and hat were white with dust, and, more even than the silence, that spectacle of the thick dust on the dark velvet impressed her with the idea of a deserted house. She had no lack of courage, this pupil of the Flemish nuns, and her footstep did not falter as she went quickly up the broad staircase until she found herself in a spacious gallery, and amidst a flood of light, for the windows on this upper or noble floor were all unshuttered, and the sunset streamed in through the lofty Italian casements. Fareham House was built upon the plan of the Hôtel de Rambouillet, of which the illustrious Catherine de Vivonne was herself at once owner and architect. The staircase, instead of being a central feature, was at the western end of the house, allowing space for an unbroken suite of rooms communicating one with the other, and terminating in an apartment with a fine oriel window looking east. The folding doors of a spacious saloon stood wide open, and Angela entered a room whose splendour was a surprise to her who had been accustomed to the sober simplicity of a convent parlour and the cold grey walls of the refectory, where the only picture was a pinched and angular Virgin by Memling, and the only ornament a crucifix of ebony and brass.