Under the roof of Henry Rayne's comfortable house everything has undergone a change, there is a primness and a fitness about the rooms that used not to be there, a cosy look peeps out from every turn and corner of the well-furnished apartments. The pantry shelves are whole rows of temptations. Very tame lions looking meekly out with their "jelly" eyes, and rare birds perched in trembling dignity on some pudding that has come "beautifully" out of the mould. In fact it seems that good Mrs. Potts has converted her whole "receipt book" into shelves of substantial and dainty representatives, but such fruitful contemplations as these will surely rouse one to action, and appropriate "action" in a well-filled pantry forebodes merciless slaughter for these culinary imitations of animal life.
Upstairs appeals less dangerously to the material element. It is neat and enticing everywhere. There is the sitting room where Mr. Rayne spent his long, thoughtful night under the gaslight with Robert Edgeworth's letter lying between his numbed fingers. The fire burns there cheerfully now--there is no other light than that cast by the fitful flames which leap and dwindle in shadows through the twilight that lingers still, huge fanciful phantoms skipping over the walls and the ceiling and floor, a little flickering subdued light that trembles on the great arm chairs. "Flo" is curled up, with both ends saluting one another, on the velvet rug before the fender, and at a civil distance away is a purring bundle of gray and white pussy, with her paws doubled in and her eyes blinking at the half-burned coals. There is a bird cage in each window, and an odd little lullaby chirp or the grating of the little iron swings is the only sound besides the loosening and falling of the embers every now and then.
Opposite to this is the large drawing room with its deep bay window, its rich carpet and massive furnishings. Not the stiff formal looking parlor of a lone bachelor, but the comfortable, tastily arranged room of a man who had confided such things to the better judgment and defter hands of a woman. There are fine statues and splendid paintings, and _bric-a-brac_ enough to deceive anyone into believing it to be the home of a bevy of girls. There is a grand piano in the end of the room, and a violin in its case in the corner--this latter had been the faithful companion of Henry Rayne through many years of his life, and held as conspicuous a place in his drawing room as it did in his esteem. Upstairs again, we find the strangest little room of all. A girl's bedroom, richly, handsomely furnished, a heavy carpet of dark colored pattern covers the floor, a massive walnut set is also there, a cosy lounge is crossways in the corner, near the bay window, which is a perfect little conservatory of blooming flowers. A handsome pair of brackets adorn the tinted walls, holding on one side a fine statue of the "Blessed Virgin and Child," and on the other that of a "Guardian Angel." Hanging opposite the bed is an oil painting of "Mater Dolorosa," besides sundry little chromos and photographs that destroy the monotony of bare walls. There is nothing left to wish for--beauty, utility, grandeur have been harmoniously blended here, and this is the nook that Henry Rayne offers Honor Edgeworth, one worthy of a princess, indeed. Mrs. Potts had promised herself that nothing should be left undone on the arrival of the travellers, and very well she kept her word too. When the violent ring of the bell that announced their coming echoed through the house, Mrs. Potts had only to roll down the sleeves of her best wincey and button them at her wrists. The clattering slippers had been superannuated, and a neat pair of prunella gaiters showed their patent toes from under the hem of her cleanest gown. A broad grin of unmistakeable joy lights up the old creature's face as she hastens to welcome her master, and this changes to a solemn look of profound admiration as Henry Rayne presents her to Honor Edgeworth, and asks her to show the young lady to her room.