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R,CHARD MONCKTON MILNES was born in the year - OUDL Home

R,CHARD MONCKTON MILNES was born in the year - OUDL Home

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Women Novelists of <strong>the</strong> 'Seventies 73pacify<strong>in</strong>g and, if one <strong>was</strong> <strong>the</strong>n a child <strong>in</strong> <strong>the</strong>se matters, alittle pa<strong>the</strong>tic. Manners, habits, hobbies, dress, furniture,food, frivolities—how swiftly <strong>the</strong> dreadful charge ofqua<strong>in</strong>tness can be brought aga<strong>in</strong>st <strong>the</strong>m.Here, for example, is an <strong>in</strong>terior, admirably <strong>in</strong>formed,but closely resembl<strong>in</strong>g <strong>the</strong> pell-mell of an auction-room,yet still as <strong>in</strong>habitable as a dream. We have mounted <strong>the</strong>steps <strong>in</strong>to a prosperous city man's London mansion, <strong>in</strong><strong>the</strong> days when dozens of young stockbrokers, 'more orless jewelled, white-hatted and blue-era vatted, were to beseen flitt<strong>in</strong>g to and fro about Mark Lane... any sunsh<strong>in</strong>ymorn<strong>in</strong>g between March and October'.There <strong>was</strong> <strong>the</strong> suite of reception rooms, three <strong>in</strong> number—<strong>the</strong>yellow damask room, <strong>the</strong> blue sat<strong>in</strong> room, and <strong>the</strong> crimson velvetroom—all panelled with enormous look<strong>in</strong>g-glasses, lit by chandelierslike pendent founta<strong>in</strong>s, and crowded with gilded furniture,pictures <strong>in</strong> heavy Italian frames, tables of Florent<strong>in</strong>e mosaic,cab<strong>in</strong>ets <strong>in</strong> buhl and marqueterie, ormolu clocks, and expensivetrifles from all quarters of <strong>the</strong> globe. Here <strong>was</strong> noth<strong>in</strong>g antique—noth<strong>in</strong>g rare, save for its costl<strong>in</strong>ess. Here were no old masters, nopriceless pieces of majolica, no Cell<strong>in</strong>i caskets, no enamels, no<strong>in</strong>tagli, no Etruscan tazza, no Pompeian relics; but <strong>in</strong> <strong>the</strong>ir placegreat vases of <strong>the</strong> f<strong>in</strong>est modern Sevres; pa<strong>in</strong>t<strong>in</strong>gs by Frith,Maclise, Stanfield, Meissonier, and David Roberts; bronzes byBarbedienne; Ch<strong>in</strong>ese ivory carv<strong>in</strong>gs, and wonderful clockworktoys from Geneva. The malachite tabic <strong>in</strong> <strong>the</strong> boudoir from <strong>the</strong>International Exhibition of 1851; <strong>the</strong> marble group <strong>in</strong> <strong>the</strong> alcoveat <strong>the</strong> end of <strong>the</strong> third draw<strong>in</strong>g-room <strong>was</strong> by Marochetti; <strong>the</strong>Gobel<strong>in</strong> tapestries were among <strong>the</strong> latest products of <strong>the</strong> Imperiallooms. Money, <strong>in</strong> short, <strong>was</strong> <strong>the</strong>re omnipresent—money <strong>in</strong>abundance; and even taste. But not taste of <strong>the</strong> highest order.Not that highly tra<strong>in</strong>ed taste which seems to 'run' <strong>in</strong> certa<strong>in</strong>classes of society, like handsome hands or f<strong>in</strong>e complexions.It is a museum piece, after Gibbon, but, alas, <strong>the</strong> <strong>in</strong>terven<strong>in</strong>g<strong>year</strong>s seem to have put it under glass.A d<strong>in</strong><strong>in</strong>g-room, on <strong>the</strong> o<strong>the</strong>r hand, from The Woo<strong>in</strong>g OHexhibits taste of an order high enough at least to satisfy<strong>the</strong> first-cous<strong>in</strong> of an earl, and a fastidious cous<strong>in</strong> at that:... A most da<strong>in</strong>ty apartment it <strong>was</strong>: <strong>the</strong> walls a pale grey,

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