chandeliers. The ensembles fairly glitter without being
garish, they are rich in pattern yet retain an aura of
openness.
One apprehends in the decoration of various rooms
subtle yet definite divisions along the lines of gender: the
formal dining room is masculine in feeling, with nearly
a score of handsome oxblood leather chairs studded
with brass rails surrounding a regally plain mahogany
table; there is a slight whiff of the gentlemen's club.
The formal drawing room, on the other hand, is a more
feminine domain, with a fabulously delicate arrangement
of gilt settees and chairs with oval backs, upholstered
in silver silk brocade enlivened by pale pink roses. The
swagged curtains fall in narrow folds that are like the
drapery of a Roman goddess. Even the fireplace, its
black marble the only touch of darkness in the room, is
refined in profile, lightened by gilding. The gilt Rococo
wall sconces pursue the serpentine line, the line of
beauty.
HYLAND
