The ceiling of Morgan le Fay was not in perfect repair. In order to make an appearance of coffered wood, moulded slats had been nailed in a chequer across the plaster. They were painted in chevrons of blue and gold. The squares between were decorated alternately with Tudor roses and fleur-de-lis. But damp had penetrated into one corner, leaving a large patch where the gilt had tarnished and the colour flaked away; in another place the wooden laths had become warped and separated from the plaster. Lying in bed, in the grave ten minutes between waking and ringing, Tony studied these defects and resolved anew to have them put right. He wondered whether it would be easy, nowadays, to find craftsmen capable of such delicate work.

Morgan le Fay had always been his room since he left the night nursery. He had been put there so that he would be within calling distance of his parents, inseparable in Guinevere; for until quite late in his life he was subject to nightmare. He had taken nothing from the room since he had slept there, but every year added to its contents, so that it now formed a gallery representative of every phase of his adolescence--the framed picture of a dreadnought (a coloured supplement from Chums), all its guns spouting flame and smoke; a photographic group of his private school; a cabinet called `the Museum,' filled with a dozen desultory collections, eggs, butterflies, fossils, coins; his parents, in the leather diptych which had stood by his bed at school; Brenda, eight years ago when he had been trying to get engaged to her; Brenda with John, taken just after the christening; an aquatint of Hetton, as it had stood until his great-grandfather demolished it; some shelves of books, Bevis, Woodwork at Home, Conjuring for All, The Young Visitors, The Law of Landlord and Tenant, Farewell to Arms.