The rest of the furniture of this privileged apartment consisted of old cabinets, filled with Chinese porcelain and Japanese vases, Lucca della Robbia faïences, and Palissy platters; of old armchairs, in which perhaps had sat Henry IV. or Sully, Louis XIII. or Richelieu—for two of these armchairs, adorned with a carved shield, on which were engraved the fleur-de-lis of France on an azure field, evidently came from the Louvre, or, at least, some royal residence.
Over these dark and sombre chairs were thrown splendid stuffs, dyed beneath Persia’s sun, or woven by the fingers of the women of Calcutta or of Chandernagor. What these stuffs did there, it was impossible to say; they awaited, while gratifying the eyes, a destination unknown to their owner himself; in the meantime they filled the place with their golden and silky reflections.
In the centre of the room was a Roller and Blanchet “baby grand” piano in rosewood, but holding the potentialities of an orchestra in its narrow and sonorous cavity, and groaning beneath the weight of the chefs-d’œuvre of Beethoven, Weber, Mozart, Haydn, Grétry, and Porpora.
On the walls, over the doors, on the ceiling, were swords, daggers, Malay creeses, maces, battle-axes; gilded, damasked, and inlaid suits of armor; dried plants, minerals, and stuffed birds, their flame-colored wings outspread in motionless flight, and their beaks forever open. This was Albert’s favorite lounging place.