The wood work of the doors and mantels is an intricate puzzle of
inlaid woods, the ceilings are panelled and painted in complicated
designs. The "parlor" is provided with a complete set of neat,
old-gold satin furniture, puffed at its angles with peacock-colored
plush.
The monumental folding doors between the long, narrow rooms are
draped with the same chaste combination of stuffs.
The dining-room blazes with a gold and purple wall paper, set off
by ebonized wood work and furniture. The conscientious contractor
has neglected no corner. Every square inch of the ceilings, walls,
and floors has been carved, embossed, stencilled, or gilded into a
bewildering monotony.
The husband, whose affairs are rapidly increasing on his hands, has
no time to attend to such insignificant details as house
decoration, the wife has perfect confidence in the taste of the
firm employed. So at the suggestion of the latter, and in order to
complete the beauty of the rooms, a Bouguereau, a Toulmouche and a
couple of Schreyers are bought, and a number of modern French
bronzes scattered about on the multicolored cabinets. Then, at
last, the happy owners of all this splendor open their doors to the
admiration of their friends.
About the time the peacock plush and the gilding begin to show
signs of wear and tear, rumors of a fresh fashion in decoration
float across from England, and the new gospel of the beautiful
according to Clarence Cook is first preached to an astonished
nation.
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