The interior, though simple, according to M. de Gandelau’s express instructions, was in good taste; there was nothing to be seen in the way of plaster ornament or gilding. The entrance-hall was surrounded by a low oak wainscot, forming part with the door-cases. The wood of the latter and of the wainscot had preserved its natural colour, and was simply dressed with linseed-oil and wax. Above the wainscot, the walls, painted stone-colour, set off by a few red lines, gave a neat and inviting aspect to the entrance. The drawing-room was surrounded by a wainscot five feet high, painted white; the fireplace, wide and lofty, could warm a numerous circle. The jambs of the fireplace were cased with wood, and on the lofty mantelpiece, in an oaken frame, was prettily painted a bird’s-eye view of M. de Gandelau’s estate. The ceiling, with its two beams and joists, painted in light tones, set off by black and white lines, seemed to enlarge the apartment, and gave it a warm and habitable appearance, presenting on hot days lights and shades of an amber tint. The wall between the ceiling and the wainscot was hung with painted canvas. The chimney-piece stood out in bold relief on this back-ground. The entrance end of the drawing-room would have been rather sombre if the wide opening into the billiard-room had not flooded it with light, softened by the verdure of the plants within the little conservatory. But what gave the drawing-room a character which fascinated Paul at once, was the bay-window, all brilliant with light, and furnished with a chintz-covered divan. The billiard-room, also, was surrounded by a wainscoting of unpainted oak, and the same painted hangings. A portière closing over the bay-window made it serve the purpose of a little boudoir, whence there was a charming view on three sides. The plants placed in the conservatory, transmitted on the south side only a softened and tranquil light into the billiard-room. The dining-room had been decorated almost in the same style as the billiard-room, and two large oaken sideboards formed part with the wainscoting in the two recesses reserved for them.
Paul was eager to run up stairs to see his sister’s rooms. Hung entirely with Indian chintz, with a plain brown dado, this apartment exhibited great simplicity. The ceiling, however, treated like those of the ground-floor, gave it an original and pleasing aspect.
Paul wanted to see everything, and at the end of an hour, his cousin having made an appointment with some workmen to give them orders about details, left him to wander at will in the house.
The sun was already low when they thought of returning to the château.
“Well, my young cousin, are you satisfied with your work? Have things been done during your absence as you intended they should be?”
“I wish it was really my work,” replied Paul; “and I regret that I could not follow it to the end, for now I see all finished, it seems to me as if there was scarcely anything done when I went away.”
“It is with buildings, my dear fellow, as with all other human productions. You know the saying: ‘Finis coronat opus.’ Finishing is everything. Finishing may not require the greatest labour and knowledge, but it does, perhaps, require the highest degree of persistency, method, and care, as I think I have already told you. You have been really useful to me during the building—I may say so without flattery, because you have thrown your energy and your whole mind into the endeavour to understand the instructions I have given, and to see that they were duly executed. But you would have had nothing to occupy you seriously while the work was being finished, since most of the recent additions came from the work-shops ready made; you have nothing to regret, therefore; you would have lost your time here, whereas you have, it seems, employed it well at the Lyceum.”
“I never saw any hangings like this painted canvas before; they look very well; one might fancy they were tapestry.”
“Yes, I cannot imagine why these kind of hangings, which were formerly much used, should have been abandoned; for it is clear that everybody could not have Flemish or Gobelin tapestry, any more than Cordova leather. Those things were very costly; whereas, painted canvas hangings do not cost much more than wall papers and less than upholstery hangings, chintz excepted. But it would scarcely do to hang a drawing-room or a dining-room with chintz; it does not look substantial enough, though it may be well enough for a bedroom. In the principal apartments hangings should have a velvety, warm, substantial effect.”
“And are these of painted canvas substantial?”