in order to give access to the upper shelves, and these galleries were reached by spiral staircases placed behind grilles in the dark corners on the entrance side. The end wall was pierced by four immense windows, two on either side of the fireplace, and these were filled with the English stained glass of which Mr. Eldon had spoken. They really seemed to be excellent examples[Pg 37] of the art, and I proceeded to examine them with interest.

[Pg 37]

The designs were of Scriptural origin, Old Testament scenes to be exact, and I note them in order from left to right.

The window at the extreme left depicted the youthful Joseph journeying to Dothan and wearing his coat of many colors; in the background his jealous brethren are awaiting his coming and fomenting their unfraternal conspiracy.

The window adjoining the fireplace on the left represented the rebellion of the sons of Korah and their terrible fate in being swallowed up alive by the gaping earth; the black and menacing sky, shot through with the red zigzag of the lightning, seemed exceedingly realistic.

In the companion window on the right was shown the return of the Israelitish spies from the coveted land of Canaan, bearing great clusters of purple grapes from the valley of Eschol; in the distance, Jericho, with Rahab's house perched high upon the city wall and distinguished by its hanging cord of scarlet.

The fourth window, the one at the extreme right, reproduced the contest on Mount Carmel between Elijah and the pagan prophets, the fire from heaven consuming the burnt[Pg 38] offering of Jehovah, the terror-stricken flight of the hierophants of Baal, and the little cloud, like to a man's hand, arising from the sea. Of the four windows this last one was perhaps the most interesting, although all of them were excellent in composition, substantially and skilfully leaded, and gorgeously rich in color. I don't know why we can't make such reds and blues in this country, but of course the old established English firms have been perfecting their formulas and processes throughout the centuries.

[Pg 38]

Since three of the four walls were lined with bookcases, and the remaining one had to provide for the windows and fireplace there was no available space for pictures, but on the blank wall above the central entrance door hung a magnificent tapestry depicting the tragic fate of Actæon devoured by his own hounds. The polished black oak 

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