“Precise-ly why,” leaps Rózsavölgyi, “we are now proposing, to give, Sloth-rop a completely different sort, of test. We are now design-ing for him, a so-called, ‘projec-tive’ test. The most famil-iar exam-ple of the type, is the Rorschach ink-blot. The ba-sic theory, is, that when given an unstruc-tured stimulus, some shape-less blob of exper-ience, the subject, will seek to impose, struc-ture on it. How, he goes a-bout struc-turing this blob, will reflect his needs, his hopes—will provide, us with clues, to his dreams, fan-tasies, the deepest re-gions of his mind.” Eyebrows going a mile a minute, extraordinarily fluid and graceful hand gestures, resembling—most likely it is deliberate, and who can blame Rosie for trying to cash in—those of his most famous compatriot, though there’re the inevitable bad side-effects: staff who swear they’ve seen him crawling headfirst down the north façade of “The White Visitation,” for example. “So we are re-ally, quite, in agreement, Reverend Doctor. A test, like the MMPI, is, in this respect, not adequate. It is, a struc-tured stimulus. The sub-ject can fal-sify, consciously, or repress, un-consciously. But with the projec-tive technique, nothing he can do, con-scious or otherwise, can pre-vent us, from finding what we wish, to know. We, are in control. He, cannot help, himself.”

“Must say it doesn’t sound like your cup of tea, Pointsman,” smiles Dr. Aaron Throwster. “Your stimuli are more the structured sort, aren’t they?”

“Let’s say I find a certain shameful fascination.”

“Let’s not. Don’t tell me you’re going to keep your fine Pavlovian hand completely out of this.”

“Well, not completely, Throwster, no. Since you’ve brought it up. We also happen to have in mind a very structured stimulus. Same one, in fact, that got us interested to begin with. We want to expose Slothrop to the German rocket… .”

Overhead, on the molded plaster ceiling, Methodist versions of Christ’s kingdom swarm: lions cuddle with lambs, fruit spills lushly and without pause into the arms and about the feet of gentlemen and ladies, swains and milkmaids. No one’s expression is quite right. The wee creatures leer, the fiercer beasts have a drugged or sedated look, and none of the humans have any eye-contact at all. The ceilings of “The White Visitation” aren’t the only erratic thing about the place, either. It is a classic “folly,” all right. The buttery was designed as an Arabian harem in miniature, for reasons we can only guess at today, full of silks, fretwork and peepholes. One of the libraries served, for a time, as a wallow, the floor dropped three feet and replaced with mud up to the thresholds for giant Gloucestershire Old Spots to frolic, oink, and cool their summers in, to stare at the shelves of buckram books and wonder if they’d be good eating. Whig eccentricity is carried in this house to most unhealthy extremes. The rooms are triangular, spherical, walled up into mazes. Portraits, studies in genetic curiosity, gape and smirk at you from every vantage. The W.C.s contain frescoes of Clive and his elephants stomping the French at Plassy, fountains that depict Salome with the head of John (water gushing out ears, nose, and mouth), floor mosaics in which are tessellated together different versions of Homo Monstrosus, an interesting preoccupation of the time—cyclops, humanoid giraffe, centaur repeated in all directions. Everywhere are archways, grottoes, plaster floral arrangements, walls hung in threadbare velvet or brocade. Balconies give out at unlikely places, overhung with gargoyles whose fangs have fetched not a few newcomers nasty cuts on the head. Even in the worst rains, the monsters only just manage to drool—the rainpipes feeding them are centuries out of repair, running crazed over slates and beneath eaves, past cracked pilasters, dangling Cupids, terra-cotta facing on every floor, along with belvederes, rusticated joints, pseudo-Italian columns, looming minarets, leaning crooked chimneys—from a distance no two observers, no matter how close they stand, see quite the same building in that orgy of self-expression, added to by each succeeding owner, until the present War’s requisitioning. Topiary trees line the drive for a distance before giving way to larch and elm: ducks, bottles, snails, angels, and steeplechase riders they dwindle down the metaled road into their fallow silence, into the shadows under the tunnel of sighing trees. The sentry, a dark figure in white webbing, stands port-arms in your masked headlamps, and you must halt for him. The dogs, engineered and lethal, are watching you from the woods. Presently, as evening comes on, a few bitter flakes of snow begin to fall.