'What are you going to do with your romance when you have written it?' said Stephen.
'I don't know,' she replied, and turned her head to look at the prospect.
For by this time they had reached the precincts of Endelstow House. Driving through an ancient gate-way of dun-coloured stone, spanned by the high-shouldered Tudor arch, they found themselves in a spacious court, closed by a facade on each of its three sides. The substantial portions of the existing building dated from the reign of Henry VIII.; but the picturesque and sheltered spot had been the site of an erection of a much earlier date. A licence to crenellate mansum infra manerium suum was granted by Edward II. to 'Hugo Luxellen chivaler;' but though the faint outline of the ditch and mound was visible at points, no sign of the original building remained.
The windows on all sides were long and many-mullioned; the roof lines broken up by dormer lights of the same pattern. The apex stones of these dormers, together with those of the gables, were surmounted by grotesque figures in rampant, passant, and couchant variety. Tall octagonal and twisted chimneys thrust themselves high up into the sky, surpassed in height, however, by some poplars and sycamores at the back, which showed their gently rocking summits over ridge and parapet. In the corners of the court polygonal bays, whose surfaces were entirely occupied by buttresses and windows, broke into the squareness of the enclosure; and a far-projecting oriel, springing from a fantastic series of mouldings, overhung the archway of the chief entrance to the house.
As Mr. Swancourt had remarked, he had the freedom of the mansion in the absence of its owner. Upon a statement of his errand they were all admitted to the library, and left entirely to themselves. Mr. Swancourt was soon up to his eyes in the examination of a heap of papers he had taken from the cabinet described by his correspondent. Stephen and Elfride had nothing to do but to wander about till her father was ready.
Elfride entered the gallery, and Stephen followed her without seeming to do so. It was a long sombre apartment, enriched with fittings a century or so later in style than the walls of the mansion. Pilasters of Renaissance workmanship supported a cornice from which sprang a curved ceiling, panelled in the awkward twists and curls of the period. The old Gothic quarries still remained in the upper portion of the large window at the end, though they had made way for a more modern form of glazing elsewhere.
Stephen was at one end of the gallery looking towards Elfride, who stood in the midst, beginning to feel somewhat depressed by the society of Luxellian shades of cadaverous complexion fixed by Holbein, Kneller, and Lely, and seeming to gaze at and through her in a moralizing mood. The silence, which cast almost a spell upon them, was broken by the sudden opening of a door at the far end.