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Updated: June 14, 2025
The private chapel is a beautiful little place of worship, with eighty painted panels of Scriptural subjects by De Witt, the seventeenth-century Dutch artist, and admirable stained glass. The Castle, too, is full of interesting historical relics.
He grasped the heavy piece, approving of the easy, instinctive way in which the girl had handled it. "Look on the barrel," she told him. "On top, right at the breech." The gun was a flintlock, or rather, a dog-lock; sure enough, stamped on the breech was the big "A" of the Company of Workmen Armorers of London, the seventeenth-century gunmakers' guild. "That's right," he nodded.
On its way to the pass of the Brown range it skirted the garden of the Gallands, which rose in terraces to a seventeenth-century house overlooking the old town from its outskirts. They were such a town, such a road, such a landscape as you may see on many European frontiers.
In pursuing my investigations it was soon evident that the period of the allegorical gravestone was confined sharply and almost exclusively to the eighteenth century. I have seldom met one earlier than 1700, and those subsequent to 1800 are very rare. Of gravestones generally it may almost be said that specimens of seventeenth-century date are exceedingly few.
The choir has a fine seventeenth-century wrought-iron grille with two amorini, a crown and heart, &c., interwoven with scrolls, gilded and painted. The beaten work is mixed with scrolls of flat thin material between strong uprights and cross pieces. At the height of the face of a kneeling figure is a row of small balusters. The upper portion is painted white.
He heard her wooden pattens click down an interminable corridor, and after some delay she returned and told him to follow her. They passed through a long saloon, bare as the ante-chamber, but loftily vaulted, and frescoed with a seventeenth-century Triumph of Scipio or Alexander martial figures following Wyant with the filmed melancholy gaze of shades in limbo.
In the midst of all this, at the corner of two very quiet streets, stands the palace, now of the Duke of San Clemente, an ungainly, yellow structure of various epochs, with a pretty late sixteenth-century belvedere tower on one side; a lot of shuttered and heavily-grated seventeenth-century windows, ornamented with stone stay-laces and tags, upon the dark street; and to the back a desolate old garden, where the vines have crawled over the stonework, and the grotesque seventeenth-century statues, green and yellow with lichen, stand in niches among the ill-trimmed hedges of ilex and laurel: the most old-world house and garden in the old-world part of the town.
And just as Dario had pointed out the Palazzo Buongiovanni, a huge seventeenth-century facade, with windows encompassed by foliaged ornamentation deplorably heavy in style, he added gaily: "Ah! look that's Attilio there on the footway. Young Lieutenant Sacco you know, don't you?" Pierre signed that he understood.
Every old-clothes shop on Petticoat Lane must have contributed its allotment of cast-off apparel. Our arms and equipment were of an equally nondescript character. We might easily have been mistaken for a mob of vagrants which had pillaged a seventeenth-century arsenal.
A spiritual ancestor of Anatole France's marvellous full-length figure of Jerome Coignard, Borrow's conception takes us back first to Rabelais and secondly to the seventeenth-century conviction of the profound Machiavellism of Jesuitry." But in "Lavengro" and "The Romany Rye" he is an intruder with a design of turning these books into tracts.
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