"And what is his name?"
"Saint-Harem, or Saint-Herem, I believe."
"I thought as much," the old man said to himself. "But, in that case, why do they call it the Saint-Ramon mansion?" Then, turning to the same bystander again, he asked aloud: "Will you be kind enough to tell me what time it is?"
"Half-past ten, exactly."
"Thank you, monsieur," responded the old man, getting a little nearer to the gate. "Half-past ten," he said to himself. "I need not be at Chaillot until midnight, so I have plenty of time to solve this mystery."
After a moment's hesitation, the old man passed through the gateway, and proceeded up a walk shaded with magnificent elms, to a brilliantly lighted half-circle in front of the house itself, which was a veritable palace,—a superb example of the palmiest days of Renaissance architecture.
Crossing the half-circle, the old man found himself at the foot of the imposing perron leading to the peristyle. Through the glass doors that enclosed the entire front of this peristyle, he saw a long row of tall, powdered footmen clad in gorgeous liveries, but all the while the carriages that drew up at the foot of the perron were depositing men, women, and young girls, whose plain attire contrasted strangely with the splendour of this fairy palace.
The old man, to whom allusion has already been made, urged on, apparently, by an almost irresistible curiosity, followed several of these newcomers up under the peristyle, where two tall Swiss, halberds in hand, opened the broad portals of the large glass double door to all, making their halberds ring noisily on the marble floor as each guest entered. Still mingling with a party of invited guests, the old man passed through a double row of footmen in bright blue livery, profusely trimmed with silver, into a large reception-room, where numerous valets, clad in bright blue jackets, black satin knee breeches, and white silk stockings, were in attendance, all manifesting the utmost deference to these guests whose unpretending appearance seemed so out of harmony with the princely luxury of the abode. The guests passed from this room into a large music-room, fitted up for concerts, and from that into an immense circular hall surmounted by a dome. This hall served as a nucleus for three other large apartments,—or rather four in all, including the music-room,—one intended for a ballroom, another for a banquet-hall and the other for a cardroom.
It is impossible to describe the splendour, elegance, and sumptuous furnishings of these large, brilliantly lighted apartments, whose lavish adornments in the shape of paintings, statuary, and flowers were multiplied again and again in the enormous mirrors that lined the walls. The most illustrious artists of the time had assisted in this work of ornamentation. Masterpieces by Ingres and Delacroix hung side by side with those of Scheffer and Paul Delaroche; while the future fame of Couture and Gérôme had evidently been divined by the wealthy and discerning builder of this palace. Among the most magnificent works of art, we must not forget to mention an immense sideboard in the banquet-hall, loaded with superb silver, worthy of the master hand of Benvenuto Cellini, and consisting of candelabra, pitchers, epergnes, and fruit-dishes, each and every one entitled to an honoured place in a museum, by reason of its rare beauty of form and exquisite ornamentation.
One word more in relation to a peculiar feature of the spacious rotunda. Directly over a gigantic white marble mantel, a monument to the genius of David of Angers, the French Michael Angelo, with allegorical figures in alto-relievo, representing the Arts and Sciences at the base, was a portrait that might with reason have been attributed to Velasquez. It represented a pale, austere-looking man with strongly marked features, hollow cheeks, and sunken eyes. A brown robe similar to those worn by monks imparted to this person the impressive character of those portraits of saints or martyrs so frequently encountered in the Spanish school of art,—a resemblance that was heightened by a sort of halo which shone out brightly against the dark background of the picture, and seemed to cast a reflected radiance upon the austere and thoughtful countenance. On the frame below, in German text, were the words: