and vaulted roofs, oak wood-work as high as the walls, expanded draperies, and tapers all aglow. And what a lot of people! What grand dresses! First of all, seated in the carved stalls that line the choir, is the Lord of Trinquelague in a coat of salmon-coloured silk, and about him are ranged all the noble lords who have been invited.
On the opposite side, on velvet-covered praying-stools, the old dowager marchioness in flame-coloured brocade, and the youthful Lady of Trinquelague wearing a lofty head-dress of plaited lace in the newest fashion of the French court, have taken their places. Lower down, dressed in black, with punctilious wigs, and shaven faces, like two grave notes among the gay silks and the figured damasks, are seen the bailiff, Thomas Amoton, and the notary Master Ambrov. Then come the stout major-domos, the pages, the horsemen, the stewards, Dame Barbara, with all her keys hanging at her side on a real silver ring. At the end, on the forms, are the lower class, the female servants, the cotter farmers and their families; and lastly, down there, near the door, which they open and shut very carefully, are messieurs the scullions, who enter in the interval between two sauces, to take a little whiff of mass; and these bring the smell of the repast with them into the church, which now is in high festival and warm from the number of lighted tapers.
Is it the sight of their little white caps that so distracts the celebrant? Is it not rather Garrigou's bell? that mad little bell which is shaken at the altar foot with an infernal impetuosity that seems all the time to be
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