Ch. 3: Arrival At The Abbey - Page 2

the basement story of the Abbey.

From this we ascended a stone staircase, at the head of which a pair of folding doors admitted us into a broad corridor that ran round the interior of the Abbey. The windows of the corridor looked into a quadrangular grass-grown court, forming the hollow centre of the pile. In the midst of it rose a lofty and fantastic fountain, wrought of the same gray stone as the main edifice, and which has been well described by Lord Byron.

"Amidst the court a Gothic fountain play'd, Symmetrical, but deck'd with carvings quaint, Strange faces, like to men in masquerade, And here perhaps a monster, there a saint: The spring rush'd through grim mouths of granite made, And sparkled into basins, where it spent Its little torrent in a thousand bubbles, Like man's vain glory, and his vainer troubles."

[Footnote: DON JUAN, Canto III]

Around this quadrangle were low vaulted cloisters, with Gothic arches, once the secluded walks of the monks: the corridor along which we were passing was built above these cloisters, and their hollow arches seemed to reverberate every footfall. Everything thus far had a solemn monastic air; but, on arriving at an angle of the corridor, the eye, glancing along a shadowy gallery, caught a sight of two dark figures in plate armor, with closed visors, bucklers braced, and swords drawn, standing motionless against the wall. They seemed two phantoms of the chivalrous era of the Abbey.

Here the chamberlain, throwing open a folding door, ushered us at once into a spacious and lofty saloon, which offered a brilliant contrast to the quaint and sombre apartments we had traversed. It was elegantly furnished, and the walls hung with paintings, yet something of its original architecture had been preserved and blended with modern embellishments. There were the stone-shafted casements and the deep bow-window of former times. The carved and panelled wood-work of the lofty ceiling had likewise been carefully restored, and its Gothic and grotesque devices painted and gilded in their ancient style.

Here, too, were emblems of the former and latter days of the Abbey, in the effigies of the first and last of the Byron line that held sway over its destinies. At the upper end of the saloon, above the door, the dark Gothic portrait of "Sir John Byron the Little with the great Beard," looked grimly down from his canvas, while, at the opposite end, a white marble bust of the genius loci, the noble poet, shone conspicuously from its pedestal.

The whole air and style of the apartment partook more of the palace than the monastery, and its windows looked forth on a suitable prospect, composed of beautiful groves, smooth verdant lawns, and silver sheets of water. Below the windows was a small flower-garden, inclosed by stone balustrades, on which were stately peacocks, sunning themselves and displaying their plumage. About the grass-plots in