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Here young Campe, who had been impatiently intent upon the tapestries, now turned to Ashton-Kirk.

“These are, perhaps, as early examples of Flemish weaving as one would be likely to find. They came into the possession of my family about the time of the French Revolution, a period when much that was rare and costly was kicking about, helter-skelter.”

Ashton-Kirk examined the hangings with admiration.

“From the design,” said he, “I’d venture that they came from the looms of either Bruges or Arras. The hand of Van Eyck—or a follower of Van Eyck, is unmistakable; and the greater part of their designs went to the weavers of those two cities.”

Between two windows was a narrow strip of the tapestry, and in examining this the attention of Ashton-Kirk was drawn to a huge, two-handed sword which hung against it.

“A rather competent looking weapon,” said he; “and one which, no doubt, has seen excellent service.”

Miss Knowles came nearer.

“And who can be sure that its days of service are over?” said she, with a smile.