Abbotsford and Newstead Abbey

clothes-press of dark oak, well polished, and inlaid with landscapes of various tinted woods; a bed of state, ample and lofty, so as only to be ascended by a movable flight of steps, the huge posts supporting a high tester with a tuft of crimson plumes at each corner, and rich curtains of crimson damask hanging in broad and heavy folds.
    A venerable mirror of plate glass stood on the toilet, in which belles of former centuries may have contemplated and decorated their charms. The floor of the chamber was of tesselated oak, shining with wax, and partly covered by a Turkey carpet. In the centre stood a massy oaken table, waxed and polished as smooth as glass, and furnished with a writing-desk of perfumed rosewood.
    A sober light was admitted into the room through Gothic stone-shafted casements, partly shaded by crimson curtains, and partly overshadowed by the trees of the garden. This solemnly tempered light added to the effect of the stately and antiquated interior.
    Two portraits, suspended over the doors, were in keeping with the scene. They were in ancient Vandyke dresses; one was a cavalier, who may have occupied this apartment in days of yore, the other was a lady with a black velvet mask in her hand, who may once have arrayed herself for conquest at the very mirror I have described.
    The most curious relic of old times, however, in this quaint but richly dight apartment, was a great chimney-piece of panel-work, carved in high relief, with niches or compartments, each containing a human bust, that protruded almost entirely from the wall. Some of the figures were in ancient Gothic garb; the most striking among them was a female, who was earnestly regarded by a fierce Saracen from an adjoining niche.
    This panel-work is among the mysteries of the Abbey, and causes as much wide speculation as the Egyptian hieroglyphics. Some suppose it to illustrate an adventure in the Holy Land, and that the lady in effigy had been rescued by some Crusader of the family from the turbaned Turk who watches her so earnestly. What tends to give weight to these suppositions is, that similar pieces of panel-work exist in other parts of the Abbey, in all of which are to be seen the Christian lady and her Saracen guardian or lover. At the bottom of these sculptures are emblazoned the armorial bearings of the Byrons.
    I shall not detain the reader, however, with any further description of my apartment, or of the mysteries connected with it. As he is to pass some days with me at the Abbey, we shall have time to examine the old edifice at our leisure, and to make ourselves acquainted, not merely with its interior, but likewise with its environs.

THE ABBEY GARDEN.
    The morning after my arrival, I rose at an early hour. The daylight was peering brightly between the window curtains, and drawing them apart, I gazed through the Gothic casement upon a scene that accorded in character with the interior of the ancient mansion. It was the old Abbey garden, but altered to suit the tastes of different times and occupants. In one direction were shady walls and alleys, broad terraces and lofty groves; in another, beneath a gray monastic-looking angle of the edifice, overrun with ivy and surmounted by a cross, lay a small French garden, with formal flowerpots, gravel walks, and stately stone balustrades.
    The beauty of the morning, and the quiet of the hour, tempted me to an early stroll; for it is pleasant to enjoy such old-time places alone, when one may indulge poetical reveries, and spin cobweb fancies, without interruption. Dressing myself, therefore, with all speed, I descended a small flight of steps from the state apartment into the long corridor over the cloisters, along which I passed to a door at the farther end. Here I emerged into the open air, and, descending another flight of stone steps, found myself in the centre of what had once been the Abbey chapel.
    Nothing of the sacred edifice remained, however, but the Gothic front, with its deep portal and grand lancet window, already described. The nave, the side walls, the choir, the sacristy, all had disappeared. The open sky was over my head, a smooth shaven grass-plot beneath my feet. Gravel walks and shrubberies had succeeded to the shadowy isles, and stately trees to the clustering columns.
    “Where now the grass exhales a murky dew,
The humid pall of life-extinguished clay,
In sainted fame the sacred fathers grew,
Nor raised their pious voices but to pray.
Where now the bats their