The attendant showed all these things to the visitors, and many more, which I have not time now to describe. Among the rest was a piece of embroidery set in the top of a workbox, which Mary herself worked. The top of the box was formed of a plate of glass; the embroidery was placed underneath it, so that it could be seen through the glass. It was old and faded, and the boys did not think that it was very pretty. It was, however, curious to see it, since Mary had worked it with her own hands; especially as she did it when she was a child; for the guide said she embroidered it when she was only about twelve years old.
"She was very skilful with her needle," said the attendant. "She learned the art in France, at the convent where she was educated. This tapestry which hangs upon the wall was worked by the nuns at that convent, and it is said that Mary assisted them."
The tapestry to which the guide referred is the same that you see in the engraving on the wall of the room, opposite to the observer. It hung down over the door leading to the private staircase.
Besides the bedroom and the boudoir, there was the oratory, too; that is, the small room corresponding to the boudoir, in the other round tower. This room is not shown in the engraving, as the opening leading into it is on the side of the bed chamber where the spectator is supposed to stand. It was a very small room, like a round closet, with a window in it. It contained very little furniture. There were two tall, carved stands, to hold the candlesticks, on each side of the altar, and several very ancient-looking chairs. There was also a small and very peculiar-shaped old mirror hanging upon the wall. It had no frame, but the glass itself was cut into an ornamental form. This mirror was a great curiosity, it must be confessed; but it was past performing any useful function, for the silver was worn off to such an extent that it was very difficult to see one's face in it.
After looking some time longer at Queen Mary's rooms, Mr. George and the boys went back again to Lord Darnley's apartments below. There they saw a picture of Queen Mary which they had not observed before. It represented her, the man said, in the dress she wore the day that she was beheaded. The dress was of dark silk or velvet, plain, but very rich. It fitted close to the form, and came up high in the neck. The countenance evinced the changes produced by time and grief, but it wore the same sweet expression that was seen in the portrait painted in her earlier years.
"What was she beheaded for?" asked Rollo, while they were looking at this portrait.
"She was beheaded by the government of Queen Elizabeth of England," replied Mr. George. "They charged her with forming plots to dethrone Elizabeth, and make herself Queen of England in her place."
"And did she really form the plots?" asked Waldron.
"Why—yes," said Mr. George, speaking, however, in a somewhat doubtful tone, "yes—I suppose she did; or, at least, her friends and party did; she herself consenting. You see she was herself descended from an English king, just as Elizabeth was, and it was extremely doubtful which was the rightful heir. Mary, and all her friends and party, claimed that she was; and Elizabeth, on the other hand, insisted that her claim was clear and unquestionable."
"Which was right?" asked Waldron.