minutelyrememberthedetailsofthechamberyetIamsadlyforgetfulontopicsofdeepmomentandheretherewasnosystem，nokeeping，inthefantasticdisplay，totakeholduponthememory。
Theroomlayinahighturretofthecastellatedabbey，waspentagonalinshape，andofcapacioussize。OccupyingthewholesouthernfaceofthepentagonwasthesolewindowanimmensesheetofunbrokenglassfromVeniceasinglepane，andtintedofaleadenhue，sothattheraysofeitherthesunormoon，passingthroughit，fellwithaghastlylustreontheobjectswithin。Overtheupperportionofthishugewindow，extendedthetrellice-workofanagedvine，whichclamberedupthemassywallsoftheturret。Theceiling，ofgloomy-lookingoak，wasexcessivelylofty，vaulted，andelaboratelyfrettedwiththewildestandmostgrotesquespecimensofasemi-Gothic，semi-Druidicaldevice。Fromoutthemostcentralrecessofthismelancholyvaulting，depended，byasinglechainofgoldwithlonglinks，ahugecenserofthesamemetal，Saracenicinpattern，andwithmanyperforationssocontrivedthattherewrithedinandoutofthem，asifenduedwithaserpentvitality，acontinualsuccessionofparti-coloredfires。
Somefewottomansandgoldencandelabra，ofEasternfigure，wereinvariousstationsaboutandtherewasthecouch，toobridalcouchofanIndianmodel，andlow，andsculpturedofsolidebony，withapall-likecanopyabove。Ineachoftheanglesofthechamberstoodonendagiganticsarcophagusofblackgranite，fromthetombsofthekingsoveragainstLuxor，withtheiragedlidsfullofimmemorialsculpture。Butinthedrapingoftheapartmentlay，alas！
thechiefphantasyofall。Theloftywalls，giganticinheight
evenunproportionablysowerehungfromsummittofoot，invastfolds，withaheavyandmassive-lookingtapestrytapestryofamaterialwhichwasfoundalikeasacarpetonthefloor，asacoveringfortheottomansandtheebonybed，asacanopyforthebed，andasthegorgeousvolutesofthecurtainswhichpartiallyshadedthewindow。Thematerialwastherichestclothofgold。Itwasspottedallover，atirregularintervals，witharabesquefigures，aboutafootindiameter，andwroughtupontheclothinpatternsofthemostjettyblack。Butthesefigurespartookofthetruecharacterofthearabesqueonlywhenregardedfromasinglepointofview。Byacontrivancenowcommon，andindeedtraceabletoaveryremoteperiodofantiquity，theyweremadechangeableinaspect。Tooneenteringtheroom，theyboretheappearanceofsimplemonstrosities；butuponafartheradvance，thisappearancegraduallydeparted；andstepbystep，asthevisitormovedhisstationinthechamber，hesawhimselfsurroundedbyanendlesssuccessionoftheghastlyformswhichbelongtothesuperstitionoftheNorman，orariseintheguiltyslumbersofthemonk。Thephantasmagoriceffectwasvastlyheightenedbytheartificialintroductionofastrongcontinualcurrentofwindbehindthedraperiesgivingahideousanduneasyanimationtothewhole。