rast. On the one was
the figure, in stone, of some grim hermit, or monk, who had died in
the odour of sanctity; he was represented as recumbent, in his cowl and
scapulaire, with his face turned upward as in the act of devotion, and
his hands folded, from which his string of beads was dependent. On
the other side was a tomb, in the Italian taste, composed of the most
beautiful statuary marble, and accounted a model of modern art. It
was erected to the memory of Isabella's mother, the late Mrs. Vere of
Ellieslaw, who was represented as in a dying posture, while a weeping
cherub, with eyes averted, seemed in the act of extinguishing a
dying lamp as emblematic of her speedy dissolution. It was, indeed, a
masterpiece of art, but misplaced in the rude vault to which it had been
consigned. Many were surprised, and even scandalized, that Ellieslaw,
not remarkable for attention to his lady while alive, should erect after
her death such a costly mausoleum in affected sorrow; others cleared him
from the imputation of hypocrisy, and averred that the monument had
been constructed under the direction and at the sole expense of Mr.
Ratcliffe.
Before these monuments the wedding guests were assembled. They were
few in number; for many had left the castle to prepare for the ensuing
political explosion, and Ellieslaw was, in the circumstances of the
case, far from being desirous to extend invitations farther than to
those near relations whose presence the custom of the country rendered
indispensable. Next to the altar stood Sir Frederick Langley, dark,
moody, and thoughtful, even beyond his wont, and near him, Mareschal,
who was to play the part of bridesman, as it was called. The thoughtless
humour of this young gentleman, on which he never deigned to place
the least restraint, added to the cloud which overhung the brow of the
bridegroom.
"The bride is not yet come out of her chamber," he whispered to Sir
Frederick; "I trust that we must not have recourse to the violent
expedients of the Romans w
Notka biograficzna
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