Aurora Floyd

I

How a Rich Banker Married an Actress

Faint streaks of crimson glimmer here and there amidst the rich darkness of the Kentish woods. Autumn’s red finger has been lightly laid upon the foliage—sparingly, as the artist puts the brighter tints into his picture: but the grandeur of an August sunset blazes upon the peaceful landscape, and lights all into glory.

The encircling woods and wide lawn-like meadows, the still ponds of limpid water, the trim hedges, and the smooth winding roads; undulating hilltops, melting into the purple distance; labouring men’s cottages gleaming white from the surrounding foliage; solitary roadside inns with brown thatched roofs and moss-grown stacks of lopsided chimneys; noble mansions hiding behind ancestral oaks; tiny Gothic edifices; Swiss and rustic lodges; pillared gates surmounted by escutcheons hewn in stone, and festooned with green wreaths of clustering ivy; village churches and prim schoolhouses: every object in the fair English prospect is steeped in a luminous haze, as the twilight shadows steal slowly upward from the dim recesses of shady woodland and winding lane, and every outline of the landscape darkens against the deepening crimson of the sky.

Upon the broad façade of a mighty redbrick mansion, built in the favourite style of the early Georgian era, the sinking sun lingers long, making gorgeous illumination. The long rows of narrow windows are all aflame with the red light, and an honest homeward-tramping villager pauses once or twice in the roadway to glance across the smooth width of dewy lawn and tranquil lake, half fearful that there must be something more than natural in the glitter of those windows, and that maybe Maister Floyd’s house is afire.

The stately redbrick mansion belongs to Maister Floyd, as he is called in the honest patois of the Kentish rustics; to Archibald Martin Floyd, of the great banking-house of Floyd, Floyd, and Floyd, Lombard Street, City.