Mounting the central and highest portion of the farm I found it was beautifully situated in an amphitheatre surrounded by hills on all sides, and formed a charming picture. There was a young orchard of apple trees, and here and there stood a few shade trees by the walls and roadside. There were fields, or rather patches, where corn and vegetables were grown for family use. Some of them were exposed on the southern faces of the hills, and some were in the hollows. In front was the broad, meadow, like a pleasant sea of green, stretching far away.
From the first house, the old farmhouse called now "the Hive"--a pretty and well-chosen name--the driveway led to the other houses. It descended nearly to the level of the meadow, and did not rise again until it neared the "Pilgrim House," the most distant one. From that it turned on itself on the high ground toward the "Cottage" and "Eyry," the remaining houses.
The "Pilgrim House," an oblong double house, occupying a commanding position, was plain and white, without ornamentation, and squarely built like most of the New England country houses of its date. There were no trees around it, and it was the least attractive house on the place.
The "Cottage" had four gables, and was also plain and unpretending; it had only some half-a-dozen rooms and was painted a dark brown color. It was situated on a little knoll, with flower beds in the rear, and greensward all around it.
Beyond and nearer to the "Hive," in the centre of the domain, was the "Eyry" (this is the way Mr. Ripley spelled it; some spelled it "Eyrie" and some "Aerie"). It had for its base a ledge of Roxbury conglomerate called "pudding-stone," and it was banked up with two greensward terraces. It had the highest and finest location, with a background of oak and maple woods, and looked out on the orchard, commanding a fine view. It was a square, smooth, wooden structure painted a light gray, sandstone color. It was made of smooth, matched boards, and had a large, flat cornice or flange that surrounded it near the top, which saved it from extreme plainness. Yet it was pleasing to the eye, and it had low, French windows that open like doors out on to the upper terrace.
As I looked in it for the first time I saw that a few pictures adorned the walls: pressed fern leaves filled the mantel vases, and the bright remnants of last autumn's foliage were in some places fastened to the walls. There was also a piano, over which hung an oil painting, and in the opposite room was a large array of Mr. Ripley's books. It was "the library," and many of the works were in German. In particular, there was a set of fourteen volumes, "Specimens of Foreign Literature," edited by Mr. Ripley, that attracted my attention.