The Spenders: A Tale of the Third GenerationWilson, Harry Leon
General
The Spenders: A Tale of the Third Generation
Wilson, Harry Leon
Inheritance and succession -- Fiction; United States -- Social life and customs -- Fiction
In this mammoth pile, for the petty rental of ten or fifteen thousand
dollars a year, many tribes of the invaders have found shelter and
entertainment in apartments of many rooms. Outwardly, in details of
ornamentation, the building is said to duplicate the Chateaux Blois,
those splendid palaces of Francis I. Inside are all the line and colour
and device of elegant opulence, modern to the last note.
To this palace of an October evening comes the tribe of Bines, and many
another such, for a triumphal feast in the abode of Barbarian Silas
Higbee. The carriages pass through a pair of lordly iron gates, swung
from massive stone pillars, under an arch of wrought iron with its
antique lamp, and into the echoing courtyard flanked by trim hedges of
box.
Alighting, the barbaric guests of Higbee are ushered through a
marble-walled vestibule, from which a wrought-iron and bronze screen
gives way to the main entrance-hall. The ceiling here reproduces that
of a feudal castle in Rouen, with some trifling and effective touches
of decoration in blue, scarlet, and gold. The walls are of white Caen
stone, with ornate windows and balconies jutting out above. In one
corner is a stately stone mantel with richly carved hood, bearing in
its central panel the escutcheon of the gallant French monarch. Up a
little flight of marble steps, guarded by its hand-rail of heavy metal,
shod with crimson velvet, one reaches the elevator. This pretty
enclosure of iron and glass, of classic detail in the period of Henry
II., of Circassian walnut trim, with crotch panels, has more the aspect
of boudoir than elevator. The deep seat is of walnut, upholstered with
fat cushions of crimson velvet edged in dull gold galloon. Over the
seat is a mirror cut into small squares by wooden muntins. At each side
are electric candles softened by red silk shades. One's last view
before the door closes noiselessly is of a bay-window opposite, set
with cathedral glass casement-lights, which sheds soft colours upon the
hall-bench of carven stone and upon the tessellated floor.
Public-domain text, read in full here on John Shaqi.
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