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 indeed, once suggested that with very little contrivance the front door might have been so altered, as to open at least into the passage; but on hearing this, his sister Monica, such was Miss Thorne's name, had been taken ill, and had remained so for a week. Before she came down stairs she received a pledge from her brother that the entrance should never be changed in her lifetime.

At the end of the hall opposite to the fire-place a door led into the drawing-room, which was of equal size, and lighted with precisely similar windows. But yet the aspect of the room was very different. It was papered, and the ceiling, which in the hall showed the old rafters, was whitened and finished with a modern cornice. Miss Thorne's drawing-room, or, as she always called it, withdrawing-room, was a beautiful apartment. The windows opened on to the full extent of the lovely trim garden; immediately before the windows were plots of flowers in stiff, stately, stubborn little beds, each bed surrounded by a stone coping of its own; beyond, there was a low parapet wall, on which stood urns and images, fawns, nymphs, satyrs, and a whole tribe of Pan's followers; and then again, beyond that, a beautiful lawn sloped away to a sunk fence which divided the garden from the park. Mr. Thorne's study was at the end of the drawing-room, and beyond that were the kitchen and the offices. Doors opened into both Miss Thorne's withdrawing-room and Mr. Thorne's sanctum from the passage above alluded to; which, as it came to the latter room, widened itself so as to make space for the huge black oak stairs which led to the upper regions.

Such was the interior of Ullathorne Court. But having thus described it, perhaps somewhat too tediously, we beg to say that it is not the interior to which we wish to call the English tourist's attention, though we advise him to lose no legitimate opportunity of becoming acquainted with it in a friendly manner. It is the outside of Ullathorne that is so lovely. Let the tourist get admission at least into the garden, and fling himself on that soft sward just opposite to the exterior angle of the house. He will there get the double frontage, and enjoy that which is so lovely—the expanse of architectural beauty without the formal dulness of one long line.