These barbarous stories carried me, sitting there on the Holly-Tree hearth, to the Roadside Inn, renowned in my time in a sixpenny book with a folding plate, representing in a central compartment of oval form the portrait of Jonathan Bradford, and in four corner compartments four incidents of the tragedy with which the name is associated,--coloured with a hand at once so free and economical, that the bloom of Jonathan's complexion passed without any pause into the breeches of the ostler, and, smearing itself off into the next division, became rum in a bottle. Then I remembered how the landlord was found at the murdered traveller's bedside, with his own knife at his feet, and blood upon his hand; how he was hanged for the murder, notwithstanding his protestation that he had indeed come there to kill the traveller for his saddle-bags, but had been stricken motionless on finding him already slain; and how the ostler, years afterwards, owned the deed. By this time I had made myself quite uncomfortable. I stirred the fire, and stood with my back to it as long as I could bear the heat, looking up at the darkness beyond the screen, and at the wormy curtains creeping in and creeping out, like the worms in the ballad of Alonzo the Brave and the Fair Imogene. There was an Inn in the cathedral town where I went to school, which had pleasanter recollections about it than any of these. I took it next. It was the Inn where friends used to put up, and where we used to go to see parents, and to have salmon and fowls, and be tipped. It had an ecclesiastical sign,--the Mitre,--and a bar that seemed to be the next best thing to a bishopric, it was so snug. I loved the landlord's youngest daughter to distraction,--but let that pass. It was in this Inn that I was cried over by my rosy little sister, because I had acquired a black eye in a fight. And though she had been, that Holly-Tree night, for many a long year where all tears are dried, the Mitre softened me yet.