This unexpected and extraordinary incident put an end to the ball, and the whole of the guests, after taking a respectful and grateful leave of the host, departed—not in “most admired” disorder, but full of wonder. By most persons the squire’s “fantastical vagaries,” as they were termed, were traced to the vast quantity of wine he had drunk, but a few others shook their heads, and said he was evidently bewitched, and that Mother Chattox and Nance Redferne were at the bottom of it. As to the portrait of Isole de Heton, it was found under the table, and it was said that Nicholas himself had pulled it down; but this he obstinately denied, when afterwards taken to task for his indecorous behaviour; and to his dying day he asserted, and believed, that he had danced the brawl with Isole de Heton. “And never,” he would say, “had mortal man such a partner.”
From that night the two portraits in the banqueting-hall were regarded with great awe by the inmates of the Abbey.
On gaining the head of the staircase leading to the corridor, Mistress Nutter, whose movements had hitherto been extremely rapid, paused with her daughter to listen to the sounds arising from below. Suddenly was heard a loud cry, and the music, which had waxed fast and furious in order to keep pace with the frenzied boundings of the squire, ceased at once, showing some interruption had occurred, while from the confused noise that ensued, it was evident the sudden stoppage had been the result of accident. With blanched cheek Alizon listened, scarcely daring to look at her mother, whose expression of countenance, revealed by the lamp she held in her hand, almost frightened her; and it was a great relief to hear the voices and laughter of the serving-men as they came forth with Nicholas, and bore him towards another part of the mansion; and though much shocked, she was glad when one of them, who appeared to be Nicholas’s own servant, assured the others “that it was only a drunken fit and that the squire would wake up next morning as if nothing had happened.”
Apparently satisfied with this explanation, Mistress Nutter moved on; but a new feeling of uneasiness came over Alizon as she followed her down the long dusky corridor, in the direction of the mysterious chamber, where they were to pass the night. The fitful flame of the lamp fell upon many a grim painting depicting the sufferings of the early martyrs; and these ghastly representations did not serve to re-assure her. The grotesque carvings on the panels and ribs of the vaulted roof, likewise impressed her with vague terror, and there was one large piece of sculpture—Saint Theodora subjected to diabolical temptation, as described in the Golden Legend—that absolutely scared her. Their footsteps echoed hollowly overhead, and more than once, deceived by the sound, Alizon turned to see if any one was behind them. At the