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daylight, the bower of Oak's new-found mistress, Bathsheba Everdene, presented itself as a hoary building, of the Jacobean stage of Classic Renaissance as regards its architecture, and of a proportion which told at a glance that, as is so frequently the case, it had once been the manorial hall upon a small estate around it, now altogether effaced as a distinct property, and merged in the vast tract of a non-resident landlord, which comprised several such modest demesnes.

Fluted pilasters, worked from the solid stone, decorated its front, and above the roof pairs of chimneys were here and there linked by an arch, some gables and other unmanageable features still retaining traces of their Gothic extraction. Soft brown mosses, like faded velveteen, formed cushions upon the stone tiling, and tufts of the houseleek or sengreen sprouted from the eaves of the low surrounding buildings. A gravel walk