There were two pictures in the breakfast-room at the Willows which occupied an important place in Elisabeth's childish imaginings. The first hung over the mantelpiece, and was called The Centenary Meeting. It represented a chapel full of men in suffocating cravats, turning their backs upon the platform and looking at the public instead--a more effective if less realistic attitude than the ordinary one of sitting the right way about; because--as Elisabeth reasoned, and reasoned rightly--if these gentlemen had not happened to be behind before when their portraits were taken, nobody would ever have known whose portraits they were. It was a source of great family pride to her that her grandfather appeared in this galaxy of Methodist worth; but the hero of the piece, in her eyes, was one gentleman who had managed to swarm up a pillar and there screw himself "to the sticking-place"; and how he had done it Elisabeth never could conceive. The second picture hung over the door, and was a counterfeit presentment of John Wesley's escape from the burning rectory at Epworth. In those days Elisabeth was so small and the picture hung so high that she could not see it very distinctly; but it appeared to her that the boy Wesley (whom she confused in her own mind with the infant Samuel) was flying out of an attic window by means of flowing white wings, while a horse was suspended in mid-air ready to carry him straight to heaven. Every Sunday she accompanied her cousins to East Lane Chapel, at the other end of Sedgehill, and here she saw strange visions and dreamed strange dreams. The distinguishing feature of this sanctuary was a sort of reredos in oils, in memory of a dead and gone Farringdon, which depicted a gigantic urn, surrounded by a forest of cypress, through the shades whereof flitted "young-eyed cherubims" with dirty wings and bilious complexions, these last mentioned blemishes being, it is but fair to add, the fault of the atmosphere and not of the artist. For years Elisabeth firmly believed that this altar-piece was a trustworthy representation of heaven; and she felt, therefore, a pleasant, proprietary interest in it, as the view of an estate to which she would one day succeed. There was also a stained-glass window in East Lane Chapel, given by the widow of a leading official. The baptismal name of the deceased had been Jacob; and the window showed forth Jacob's Dream, as a delicate compliment to the departed. Elisabeth delighted in this window, it was so realistic. The patriarch lay asleep, with his head on a little white tombstone at the foot of a solid oak staircase, which was covered with a red carpet neatly fastened down by brass rods; while up and down this staircase strolled fair-haired angels in long white nightgowns and purple wings.