Rossetti A Vision of Fiammetta painting

flower 22007 painting
Rossetti A Vision of Fiammetta painting
David Male Nude known as Patroclus painting
Rubens The Crucified Christ painting
There was also but one entrance, a door of the contemporary style under a flattened arch, furnished inside with a tapestry hanging, and outside with one of those porches of Irish wood—delicate structures of elaborately wrought cabinet-work which still abounded in old mansions a hundred and fifty years ago. “Although they disfigure and encumber the places,” says Sauval in desperation, “our old people will not have them removed, but keep them in spite of everybody.”
Not a single article of the ordinary furniture of a room was to be seen here—neither benches, nor trestles, nor forms; neither common box-stools, nor handsome ones supported by pillars and carved feet at four sols apiece. There was one folding arm-chair only, a very magnificent one, its frame painted with roses on a crimson ground, and the seat of crimson Cordova leather with a quantity of gold-headed nails. The solitary state of this chair testified to the fact that one person alone was entitled to be seated in the room. Beside the chair and close under the window was a table covered by a cloth wrought with figures of birds. On the table was a much-used inkstand, a few sheets of parchment, some pens, and a goblet of chased silver; farther off, a charcoal brasier and a prie-dieu covered with crimson velvet and ornamented with gold bosses. Finally, at the other end of the room, an unpretentious bed of red and yellow damask with no decoration of any sort but a plain fringe