The designs were of Scriptural origin, Old Testament scenes to be exact, and I note them in order from left to right.
The window at the extreme left depicted the youthful Joseph journeying to Dothan and wearing his coat of many colors; in the background his jealous brethren are awaiting his coming and fomenting their unfraternal conspiracy.
The window adjoining the fireplace on the left represented the rebellion of the sons of Korah and their terrible fate in being swallowed up alive by the gaping earth; the black and menacing sky, shot through with the red zigzag of the lightning, seemed exceedingly realistic.
In the companion window on the right was shown the return of the Israelitish spies from the coveted land of Canaan, bearing great clusters of purple grapes from the valley of Eschol; in the distance, Jericho, with Rahab's house perched high upon the city wall and distinguished by its hanging cord of scarlet.
The fourth window, the one at the extreme right, reproduced the contest on Mount Carmel between Elijah and the pagan prophets, the fire from heaven consuming the burnt offering of Jehovah, the terror-stricken flight of the hierophants of Baal, and the little cloud, like to a man's hand, arising from the sea. Of the four windows this last one was perhaps the most interesting, although all of them were excellent in composition, substantially and skilfully leaded, and gorgeously rich in color. I don't know why we can't make such reds and blues in this country, but of course the old established English firms have been perfecting their formulas and processes throughout the centuries.
Since three of the four walls were lined with bookcases, and the remaining one had to provide for the windows and fireplace there was no available space for pictures, but on the blank wall above the central entrance door hung a magnificent tapestry depicting the tragic fate of Actæon devoured by his own hounds. The polished black oak floor was covered with Eastern rugs, and a fine silver-tip grizzly bearskin lay on the hearthstone. The couches and big, comfortable reading chairs were upholstered in dark green leather, very handsome and substantial, while directly under the dome stood a massive, flat-topped library desk made of teakwood. The accompanying swivel-chair was mounted on a bronze mushroom foot firmly secured to the floor by means of bolts; it was so placed that the occupant had his back to the windows, with the light coming over his shoulder after the proper fashion for comfort.
I have been particular in thus describing the furnishings and internal economy of the library, for in this room lay the very heart of the mystery so soon to present itself; later on I was destined to make myself acquainted with every square inch of its large area, only to fail in my attempt to discover its menacing secret. Fortunate indeed that Betty's feminine intuition asserted itself in the nick of time. But I must not anticipate the solution of the problem while the prime factors in the equation still remain unstated. Enough then to acquaint the reader with the general disposition of the stage upon which the drama was shortly to unfold itself.
The great room was very quiet, the evening shadows were beginning to lengthen, and still we waited.