The episcopalian residence, situate some distance from the city, was a mediaeval building, enshrined in the remnant of a royal chase, and in its perfect quiet and loneliness resembled the palace of the Sleeping Beauty. Its composite architecture was of many centuries and many styles, for bishop after bishop had pulled down portions and added others, had levelled a tower here and erected a wing there, until the result was a jumble of divers designs, incongruous but picturesque. Time had mellowed the various parts into one rich coloured whole of perfect beauty, and elevated on a green rise, surrounded by broad stone terraces, with towers and oriels and turrets and machicolated battlements; clothed with ivy, buried amid ancient trees, it looked like the realisation of a poet's dream. Only long ages and many changing epochs; only home-loving prelates, ample monies, and architects of genius, could have created so beautiful and unique a fabric. It was the admiration of transatlantic tourists with a twang; the desire of millionaires. Aladdin's industrious genii would have failed to build such a masterpiece, unless their masters had arranged to inhabit it five centuries or so after construction. Time had created it, as Time would destroy it, but at present it was in perfect preservation, and figured in steel-plate engravings as one of the stately homes of England. No wonder the mitre of Beorminster was a coveted prize, when its gainer could dwell in so noble and matchless a mansion.