Meanwhile the twilight is glooming upward out of the corners of the room. The shadows of the tall furniture grow deeper, and at first become more definite; then, spreading wider, they lose their distinctness of outline in the dark gray tide of oblivion, as it were, that creeps slowly over the various objects, and the one human figure sitting in the midst of them. The gloom has not entered from without; it has brooded here all day, and now, taking its own inevitable time, will possess itself of everything. The Judge's face, indeed, rigid, and singularly white, refuses to melt into this universal solvent. Fainter and fainter grows the light. It is as if another double-handful of darkness had been scattered through the air. Now it is no longer gray, but sable. There is still a faint appearance at the window; neither a glow, nor a gleam, nor a glimmer--any phrase of light would express something far brighter than this doubtful perception, or sense, rather, that there is a window there. Has it yet vanished? No!--yes!--not quite! And there is still the swarthy whiteness--we shall venture to marry these ill-agreeing words--the swarthy whiteness of Judge Pyncheon's face. The features are all gone: there is only the paleness of them left. And how looks it now? There is no window! There is no face! An infinite, inscrutable blackness has annihilated sight! Where is our universe? All crumbled away from us; and we, adrift in chaos, may harken to the gusts of homeless wind, that go sighing and murmuring about, in quest of what was once a world! [Footnote 79: From Chapter XVIII of "The House of the Seven Gables." Published by Houghton, Mifflin & Company.] Is there no other sound? One other, and a fearful one. It is the ticking of the Judge's watch, which, ever since Hepzibah left the room in search of Clifford, he has been holding in his hand. Be the cause what it may, this little, quiet, never-ceasing throb of Time's pulse, repeating its small strokes with such busy regularity, in Judge Pyncheon's motionless hand, has an effect of terror, which we do not find in any other accompaniment of the scene.