were rendered quite speechless--and told us anecdotes.

Of many of her narratives I have no recollection, but one or two, which
interested me more than the rest, are almost as fresh in my mind as when
recounted. The one that appealed to me most, and which I have every
reason to believe is absolutely true,[1] is as follows:--I give it as
nearly as I can in her own somewhat stilted style:--

"Up to the age of nineteen, I resided with my parents in the Manor
House, Oxenby. It was an old building, dating back, I believe, to the
reign of Edward VI, and had originally served as the residence of noble
families. Built, or, rather, faced with split flints, and edged and
buttressed with cut grey stone, it had a majestic though very gloomy
appearance, and seen from afar resembled nothing so much as a huge and
grotesquely decorated sarcophagus. In the centre of its frowning and
menacing front was the device of a cat, constructed out of black
shingles, and having white shingles for the eyes; the effect being
curiously realistic, especially on moonlight nights, when anything more
lifelike and sinister could scarcely have been conceived. The artist,
whoever he was, had a more than human knowledge of cats--he portrayed
not merely their bodies but their souls.

[Footnote 1: I have subsequently met several people who experienced the
same phenomena in the house, which was standing a short time ago.]

"In style the front of the house was somewhat castellated. Two
semicircular bows, or half towers, placed at a suitable distance from
each other, rose from the base to the summit of the edifice, to the
height of four or five stairs; and were pierced, at every floor, with
rows of stone-mullioned windows. The flat wall between had larger