The architecture of the cottage
was--if not Early Tudor--something equally pleasing. Its roofs were
divided into many gables; its windows were diamond paned and
projecting, whilst oaken beams ran latitudinally and vertically over
its grey shingle front. Encompassing the whole base of the exterior
were masses of flowers--pinks, carnations, heliotrope, pansies,
poppies, lilies, wallflowers, roses and jasmines; and besides the
latter several other creepers had been planted beneath the walls, but
had not yet attained to any height.
Shiel Davenport, for it was he, could not resist the temptation of
peeping in at the windows; and he saw that the interior of the cottage
was artistry and simplicity itself. At the windows, curtains of heavy
white jaconet muslin, not too full, hung in sharp parallel plaits to
the floor--just to the floor. The walls were papered with French
papers of rare delicacy--to match the seasons; (spring, summer, autumn
and winter were all most effectively depicted), and the furniture
though light, was at the same time costly. And here again was the same
effect of arrangement--an arrangement obviously designed by the same
brain that had planned the building and grounds. Shiel could not
conceive anything more graceful. Flowers--flowers of every hue and
odour were the chief decoration of the cottage. On almost every table
were vases--in themselves beautiful enough--yet filled to overflowing
with the finest roses.
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