"
While the unhappy lady thus unavailingly deplored the sad position in
which her own misconduct had placed her, and from which she felt wholly
incapable of extricating herself; while in this wretched frame of mind,
she awaited her lover's return,--with, as we have shown, some remains of
good struggling with the evil in her bosom,--we will cast a hasty glance
round the chamber in which she sat. And we are prompted to do this, not
because it merits particular description, but because it was the room
referred to by Lady Lake as the scene of the confession she had forged.
The apartment, then, was spacious and handsomely furnished in the heavy
taste of the period, with but little to distinguish it from other rooms
visited by us in the course of this story. Like most of them, it had a
gloomy air, caused by the dark hue of its oaken panels, and the heavy
folds of its antiquated and faded tapestry. The latter was chiefly hung
against the lower end of the chamber, and served as a screen to one of
the doors. At the opposite end, there was a wide and deep bay window,
glowing with stained glass, amid the emblazonry of which might be
discerned the proud escutcheon of the house of Exeter, with the two
lions rampant forming its supporters. On the right of the enormous
carved mantel-piece, which, with its pillars, statues, 'scutcheons, and
massive cornice, mounted to the very ceiling, was hung a portrait of the
Earl of Exeter--a grave, dignified personage, clad in the attire of
Elizabeth's time; and on the left, was a likeness of the Countess
herself, painted in all the pride of her unequalled beauty, and
marvellous in resemblance then; but how different in expression from her
features now!
In the recess of the window stood an oak table, covered with a piece of
rich carpet fringed with gold, on which a massive silver inkstand and
materials for writing were placed; and this table was seized upon by
Lady Lake as a feature in her plot.
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