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ed an epitaph, which has perpetuated to our times the estimate formed by his "inconsolable widow," the Dowager Lady Mardykes, of the virtues and accomplishments of her deceased lord. Lady Walsingham would have qualified two or three of the more highly-coloured hyperboles, at which the Golden Friars of those days sniffed and tittered. They don't signify now; there is no contemporary left to laugh or whisper. And if there be not much that is true in the letter of that inscription, it at least perpetuates something that _is_ true--that wonderful glorificaion of partisanship, the affection of an idolising wife. Lady Mardykes, a few days after the funeral, left Mardykes Hall for ever. She lived a great deal with her sister, Lady Walsingham; and died, as a line cut at the foot of Sir Bale Mardykes' epitaph records, in the year 1790; her remains being laid beside those of her beloved husband in Golden Friars. The estates had come to Sir Bale Mardykes free of entail. He had been pottering over a will, but it was never completed, nor even quite planned; and after much doubt and scrutiny, it was at last ascertained that, in default of a will and of issue, a clause in the marriage-settlement gave the entire estates to the Dowager Lady Mardykes. By her will she bequeathed the estates to "her cousin, also a kinsman of the late Sir Bale Mardykes her husband," William Feltram, on condition of his assuming the name and arms of Mardykes, the arms of Feltram being quartered in the shield. Thus was oddly fulfilled the prediction which Philip Feltram had repeated, that the estates of Mardykes were to pass into the hands of a Feltram. About the year 1795 the baronetage was revived, and William Feltram enjoyed the title for fifteen years, as Sir William Mardykes. ***END OF THE PROJECT GUTENBERG EBOOK J. S. LE FANU'S GHOSTLY TALES, VOLUME 3*** ******* This file should be named 11750.txt or 11750.zip ******* This and all associated files of various formats will be found in: http://www.gutenberg.net/1/1/7/5/11750 Updated editions will replace the previous one--the old editions will be renamed. Creating the works from public domain print editions means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this
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