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 a great red sash, romping with a black retriever. Excellent pictures are also here of Sir Morell and Lady Mackenzie. The furniture is of oak, and there are some grand cabinets on which are many beautiful bronzes. The outlook from the dining-room is not calculated to inspire one with rural thoughts—chimney-pots and ugly, far-from-interesting brick walls abound; for which reason the glass in the window is embossed and the view is lost.

Ascending the staircase—which is decorated in Pompeian style, the centre of each plaque containing beautifully drawn and delicately coloured figures—the drawing-room is reached. This is really two apartments thrown into one. Immense vases of everlasting grass, with ivy playing about the wall, are everywhere—bowls and baskets, dishes and trays, are full of flowers, for Sir Morell is fond of this form of natural decoration. The cabinets are filled with Chinese ware. On one is a case of curios—silver daggers, crosses, Japanese wings, snuff-boxes, goblets, and, if I mistake not, a tiny model in silver of "Moritz." Just by stands an equally tiny silver chariot drawn by diminutive oxen. Many tokens of Royal favour are here in the form of portraits. Pictures of members of Sir Morell's family are scattered about. The hoof of a horse used as a match-box has an engraved plate upon it which reads, "Beauty—January, 1878." "Beauty" was a great favourite of its master, and a family pet. His memory is thus preserved. I am reminded that Sir Morell breaks-in all his harness horses, and that he never drives animals under six years of age.