There was no forced consistency.
Forms suitable only for the support of heavy masses of masonry, or for the
solemn effects of church interiors, were not here introduced. From
straight window-cornices of dark wood, slenderly gilt, but richly carved,
fell cataracts of gleaming satin, softened in effect with laces of rare
appreciation.
The frescoes and panel-work were a study by themselves, uniting the
classic and modern styles in allegorical subjects. The paintings, selected
by the taste of Dalton, to overpower the darkness of the rooms by
intensity of color, were incorporated with the walls. There were but few
mirrors. At the end of each suite, one, of fabulous size, without frame,
made to appear, by a cunning arrangement of dark draperies, like a
transparent portion of the wall itself, extended the magnificence of the
apartments.
Not a flame nor a jet was anywhere visible. Tinted vases, pendent, or
resting upon pedestals, distributed harmonies and thoughts of light rather
than light itself; and yet all was visible, effulgent. The columns which
separated the apartments seemed to be composed of masses of richly-colored
flames, compelled, by some ingenious alchemy, to assume the form and
office of columns.
In New York, _par excellence_ the city of private gorgeousness and
_petite_ magnificence, nothing had yet been seen equal to the rooms of the
glorious Denslow Palace.
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