The evening telegraph. [volume] (Philadelphia [Pa.]) 1864-1918, 1869-02-04


Of the decorator, is gorgeous, as il need
be TO correspond with the magnificent dra-
peries. Imagine the poop Of the Buoentaur
when the Doge espouses the Sea. Four
statues, gilt with Venetian gliding, support
canopy, beneath which is the hearth. Thev
represent four negroes, whose athletic vet
slender bodies, the size of life, are covered
with light drapery, which opens on the chest.
and, fastened on the shoulder, leaves their
limbs bare, each in different attitude with
lamps in their hands"
Juvenum simulacra per eles
Lampauas 1gniferas manibus retinentia dexJris
"A mirror behind them reflects their figures
with good effect. Let into the mantelpiece is
the silver-gilt belt of Wallaohian chieftain,
adorned with artificial gems, whilst in front is
delicately worked screen framed in glass. In
which small Cupidon is said to have been
worked by Madame Pompadour herself, whilst
the main design was completed by her ladies'.
a handsome Japanese brazier stands by
this, presented by Alexandra Dumas, and a
table inlad with ivory, once the property of
Charles ii, with suitable chairs, couches,
ohalses-longues, etc., complete the furniture
OF this salon, whose windows open on TO q
broad balcony with wooden ratings. The
shutters are all painted in bright colors, in
imitation of Chinese paintings. In the salon
bleu are more white jet tapestry and Chinese
screens, and table inlaid with white metal,
temp. Renaissance, which formerly belonged
TO the Duke of Orleans. The canopy
over the chimney-piece is hung with
blue drapery, the pillars that support
1t and its accessories formerly being
the head-piece of a state -bedstead of Francis
l. The most interesting, however, of all the
curlosities in these apartments is small octa-
gonal writing table; on four sides of the
octagon are four inkstands and pens, under
meath each inkstand is q small drawer, and a
Ia nj ioly
names are--Lamartine, Georges Sand, A.
Dumas, Victor Hugo. In the drawer under
each inkstand is an autograph of the author
these inkstands (most OF them of the plainhst
description) and pens being originally the
property OF each auther. / subjoin copies of
the autographs
Chere Madamf:-Jat cnercue depuis deux
jours un encrier qui ne m'eut pas etc donne
par quelque trop chere personne, ct je mai rie
trouve .qu'un atfreux petit moroccan de bols qui
me sert en- voyage. Je lie trouve 81 laid que j'y
joins I'm petit briquet de poche. guere plus
beau. mails qul me sert habituellement, ct
CONNIE c'esi Ia ce que vous vouleZ, au moins
votre veracite est bieu CONVERT.
J'ai etc bien heureuse de vous vor ct de pou-
voir, n present, vous dire q vous-meme que je
vous aime. Soyez pinterprete e ma gratitude
ct de mon deVoument aupres de votre illustre
A Madame Victor Hugo, l''-'' -
Hauteville House, Guernsey.
Ohert par Lamartine au Matte de la plume.
LAMARTINE.
Je CerJln6 que cect est lenCrier aVeC leQuel
j'ai ecrit mes quinze on vingt derniers volumes.
Paris, 10 Avril, 1860.
Je mo point choisi Get encrier; le hasard Pa
mis- sous ma main, ct le men suis servi PEN
dant pIusieurs mois; pulsqu on me le demande
pour une bonne ouvre, je le donne on yolqntters.
Hauteville house, JUN, 1860.
Talking of inkstands, there is an aneodote
of Victor Hugo, showing how much ink it
takes to write novel such as "Notre Dame
de Paris" Victor Hugo commenced this ro-
nance on the morning of the 9th of July,
1880; interrupted by the insurrection, the
book was not finished until 14th January,
1881; the bottle of ink which M. Victor Hugo
had bought the first day he began to write
was finished also, and on the last line the last
drop of ink was expended. So that at one
moment he felt inclined to entitle his novel,
"Ce quill dams une bouteille dencre."
Mentioning this some years after to M. AL
phonse Karr, the latter author obtained his
permission to publish under that title col
lection of several novels.
The windows of the salon bLeu open into a
conservatory, where Muscatel and Hamburg
grapes cluster with contrast ed colOrs; this is
used as a smoking room. A small aviary with
a fountain occupies one corner.
The gallery on the second floor is entered
through door with two leaves in chiselled
cedar with gilt emblazonry, chef d'@uore dis
the name of the oak gallery, and is fitted as a
state bedroom. Six windows distribute the
| light over perfect forest of sculptured oak.
1t is ques tion before which curiosity of this
museum we should first stop. We look again
and again, and when we think that we have
| seen every thing, We perceive that innumer.
able details have been omitted. The gallery
is partially divided by an open screen, the
| doorway through which is fanked by two
| quaint and twisted columns round which a
vine with grapes is carved and gilt; on one
column the ground ID red, on the other it is
black; on the pedestal of the first is inscribed
LRTITIA, on the other, TRIsTITIA.
Nearly opposite the door is a massive table
with three chairs round it, antique, and
covered Aith leather; on the respective backs
of them, in brass nails, are the words PATER,
MATER, FILIUs.
"The low, wide chimney piece is enshrined
In the most delicate cabinet work. Over the
msntel-shelf is Sacrifice of Abraham, with
tiny figures, most exquisitely worked in re-
lief, framed in oak carving. Four oaryatides
support charming pediment on which are
represented sylvan dryads, crowned with frui
and flowers, the bodies Of these caryatides ter
minating ia arabesque decorations.
"We must give up the task of further de-
scribing the myriads of biblical, pagan, and
other figures, where art unites in picturesque
confusion the grotesque with the classical, the
clown with the dryad, beneath the patriarcha
blessing of Abraham"
The oumbrous bedstead, never yet occupied
stands at the other end of the oak gallery, op
poste to the fireplace, with its head to thu
wall and the foot turned towards the centre o
the room. The canopy is supported by fou
f., cub n