Holidays in Eastern France | Page 8

throne, and where on all sides mirrors reflect the treasures collected from different parts of the world, and we are not disappointed.
Quitting the railway at the cheerful and wealthy little town of Lagny, we drive past handsome country-houses, and well-kept flower-gardens, then gradually ascend a road winding amid hill and valley to the chateau, a graceful structure in white marble, or so it seems, proudly commanding the wide landscape. The flower-gardens are a blaze of colours, and the orange trees give delicious fragrance as we ascend the terrace, ascend being hardly the word applicable to steps sloping so easily upwards, so nicely adjusted to the human foot that climbing Mont Blanc, under the same circumstances, would be accomplished without fatigue. It is impossible to give any idea of the different kinds of magnificence that greet us on every side, now a little Watteau-like boudoir, having for background sky-blue satin and roses; now a dining-hall, sombre, gorgeous, and majestic as that of a Spanish palace; now we are transported to Persia, China, and Japan, the next we find ourselves amid unspeakable treasures of Italian and other marbles.
To come down to practical details, it might be suggested to the generous owner of this noble treasure-home of art that the briefest possible catalogue of his choicest treasures would unspeakably oblige his visitors. There is hardly a piece of furniture that is not interesting, alike from an historic and artistic point of view, whilst some are chefs-d'oeuvre both in design and execution, and dazzlingly rich in material. Among these may be mentioned a pair of chimney ornaments, thickly hung with pendants of precious stones, a piano--which belonged to Marie Antoinette--the case of which is formed of tortoiseshell, richly decorated with gold; an inlaid cabinet, set with emeralds, sapphires, and other jewels; another composed of precious stones; chairs and couches crowned with exquisite tapestry of the Louis Quinze period; some rare specimens of old cloisonn�� work, also of Florentine mosaics--these forming a small part of this magnificent museum.
The striking feature is the great quantity and variety of rich marbles in every part. One of the staircases is entirely formed of different kinds of rare marble, the effect being extra-ordinarily imposing. Elsewhere, a room is divided by Corinthian columns of jasper and porphyry, and on every side are displayed a wealth and splendour in this respect quite unique. Without doubt, nothing lends such magnificence to interiors as marbles, but they require the spaciousness and princeliness of such a chateau to be displayed to advantage.
Next in importance, as a matter of mere decoration, must be cited the tapestries of which there is a rare and valuable collection, chiefly in the hall, so called, where they are arrayed about the running gallery surmounting the pictures. What this hall must be worth would perhaps sound fabulous on paper, but it is here that some of the most precious treasures are found; cabinets of ivory, ebony, gems, gold, and silver, and the pictures alone represent a princess's dowry. Examples of some of the greatest masters are here: Velasquez, Rembrandt, Rubens, Claude Lorraine, the Caracci, Bordone, Reynolds, lastly among moderns, Ingres and Hippolyte Flandrin. Much might be said about these pictures, if space permitted, but they alone are worth making the journey from Paris or Couilly to see.
We find a very pleasing Murillo and some exquisite little specimens of the early German school in other parts of the chateau, although the gems of the collection are undoubtedly the Bordones, Rembrandts, and Reynoldses. But the cr��me de la cr��me of Baron Rothschild's treasures is not to be found in this sumptuous hall, in spite of tapestries, pictures, marbles and rare furniture, nor in the state salon, but in the dining-room, a marvellously rich and gorgeous apartment, where the wealth of gold and splendid colours is toned down, and the eye is rather refreshed than dazzled by the whole. On the walls, reaching from base to ceiling, are hung a series of paintings on leather, known as the Cuirs de Cordoue, leather paintings of Cordova. They are historic and allegorical subjects, and are painted in rich colours with a great abundance of gold on a dark background, the general effect being that of a study in gold and brown.
As good luck would have it, immediately after my visit to Ferri��res, I happened to hear of the Baron Davillier's learned little treatise on this ancient leather-work, or Guadamaciles, variously called cuir d'or, cuirs dor��s, cuirs basan��s, &c. The history of these artistic varieties is so curious, that I will give it in as few words as possible.
Guadamacil, a Spanish word, signifying painted leather, is supposed to have its origin in the city of Ghadam��s, Sahara, where M. Duveyrier the eminent French explorer, was making scientific inquiries in 1860. The Kadi knowing M. Duveyrier's interest