It would have been absurd to contest the matter, after this. Amelius followed her submissively to the farther end of the hall. There, she opened the door of a long narrow room, built out at the back of the house.

"This is my den," she said, signing to Amelius to pass in. "While we are here, nobody will disturb us." She laid aside her bonnet and shawl, and pointed to a box of cigars on the table. "Take one," she resumed. "I smoke too, when nobody sees me. That's one of the reasons, I dare say, why Regina wished to keep you out of my room. I find smoking composes me. What do _you_ say?"

She lit a cigar, and handed the matches to Amelius. Finding that he stood fairly committed to the adventure, he resigned himself to circumstances with his customary facility. He too lit a cigar, and took a chair by the fire, and looked about him with an impenetrable composure worthy of Rufus Dingwell himself.

The room bore no sort of resemblance to a boudoir. A faded old turkey carpet was spread on the floor. The common mahogany table had no covering; the chintz on the chairs was of a truly venerable age. Some of the furniture made the place look like a room occupied by a man. Dumb-bells and clubs of the sort used in athletic exercises hung over the bare mantelpiece; a large ugly oaken structure with closed doors, something between a cabinet and a wardrobe, rose on one side to the ceiling; a turning lathe stood against the opposite wall. Above the lathe were hung in a row four prints, in dingy old frames of black wood, which especially attracted the attention of Amelius. Mostly foreign prints, they were all discoloured by time, and they all strangely represented different aspects of the same subject--infants parted from their parents by desertion or robbery. The young Moses was there, in his ark of bulrushes, on the river bank. Good St. Francis appeared next, roaming the streets, and rescuing forsaken children in the wintry night. A third print showed the foundling hospital of old Paris, with the turning cage in the wall, and the bell to ring when the infant was placed in it. The next and last subject was the stealing of a child from the lap of its slumbering nurse by a gipsy woman. These sadly suggestive subjects were the only ornaments on the walls. No traces of books or music were visible; no needlework of any sort was to be seen; no elegant trifles; no china or flowers or delicate lacework or sparkling jewelry--nothing, absolutely nothing, suggestive of a woman's presence appeared in any part of Mrs. Farnaby's room.

"I have got several things to say to you," she began; "but one thing must be settled first. Give me your sacred word of honour that you will not repeat to any mortal creature what I am going to tell you now." She reclined in her chair, and drew in a mouthful of smoke and puffed it out again, and waited for his reply.

Young and unsuspicious as he was, this unscrupulous method of taking his confidence by storm startled Amelius. His natural tact and good sense told him plainly that Mrs. Farnaby was asking too much.