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310
TONO-BUNGAY

Lady Grove. I realized a fresh, wide, unpreluded step. He took me by surprise with the sudden change of scale from such portable possessions as jewels and motor-cars to a stretch of countryside. The transaction was Napoleonic; he was told of the place; he said "snap;" there were no preliminary desirings or searchings. Then he came home and said what he had done. Even my aunt was for a day or so measurably awe-stricken by this exploit in purchase, and we both went down with him to see the house in a mood near consternation. It struck us then as a very lordly place indeed. I remember the three of us standing on the terrace that looked westward, surveying the sky-reflecting windows of the house, and a feeling of unwarrantable intrusion comes back to me.

Lady Grove, you know, is a very beautiful house indeed, a still and gracious place, whose age-long seclusion was only effectively broken with the toot of the coming of the motor-car. An old Catholic family had died out in it, century by century, and was now altogether dead. Portions of the fabric are thirteenth century, and its last architectural revision was Tudor; within, it is for the most part dark and chilly, save for two or three favoured rooms and its tall-windowed, oak-galleried hall. Its terrace is its noblest feature, a very wide, broad lawn it is, bordered by a low stone battlement, and there is a great cedar in one corner under whose level branches one looks out across the blue distances of the Weald—blue distances that are made extraordinarily Italian in quality by virtue of the dark masses of that single tree. It is a very high terrace; southward one looks down upon the tops of wayfaring trees and spruces, and westward on a steep slope of beechwood, through which the road comes. One turns