Paula Monti; or, The Hôtel Lambert

by Eugène Sue

But, in proportion as the enlightened part of the gallery was approached, so did the objects in this so singularly selected abode of the Prince de Hansfeld change their character; the nearer they drew to the light, the greater was their splendour. For instance, near the window was to be seen a rare collection of Indian and Eastern arms, sabres of silver encrusted with coral, poniards, whose hilts were studded with precious stones, were sheathed in scabbards of crimson velvet, richly wrought in gold. The blue steel of Damascus bent beneath its golden case, glittering with emeralds and rubies; while Indian bucklers, bearing bas-reliefs of silver gilt, sparkled with the dazzling constellations of bright gems they presented, forming one bright, glowing, scintillating, luminous mass, to which the light admitted by the painted window added still more glowing and varied hues, while language would fail in describing the splendidly curious articles of gold, enamel, and carving, piled in gorgeous confusion upon the mother-of-pearl shelves placed immediately in the close vicinity of the window.

The flood of light let down by the many-coloured window, and reflected back by the dazzling objects on which it fell in rainbow hues, resembled a cascade of sparkling brilliancy to which the sun lends every prismatic shade.

This comparison seemed so much the more striking, as, immediately beneath the window, and occupying the arched space under it, stood a large organ. Two figures, three feet high, of angels, sculptured in ivory, supported the keyboard of the instrument, which was also of ivory. The rest of the body of the organ, whose summit reached the window itself, was composed of Gothic panels of finest ivory, carved with the fineness and delicacy of lace, without in any way detracting from the sonorous depth of the instrument. Four light and graceful Caryatides, adorned with golden crowns and ornamented with precious stones, separated the panels and supported a frieze of solid stones, represented a garland of flowers, fruit, and leaves, the cherries being formed of cornelian, the plums of amethyst, the apricots of topaz, blue-bells of lapis, with leaves of malachite and hyacinths of aqua marines,—shone with all the brilliancy and natural look of the fruits and flowers so skilfully imitated.

This organ, ten feet high and five wide, occupied the entire space beneath the long painted window, let into one end of the gallery.

The space which remained at each side of the window was filled up to the ceiling with the innumerable rich and gorgeous articles we have elsewhere described.

Seated before this ivory organ was the Prince de Hansfeld. He wore a long tunic of black woollen, loosely confined round the waist, a sort of black velvet cap but half concealed his hair, portions of which, escaping, fell in long, light locks upon his shoulders, which were somewhat bent. His long, loose sleeves were thrown back almost to the elbows during the rapid passage of his long thin fingers over the keys of the instruments, displaying hands and arms while and polished as marble, but unnaturally small and wasted. The finger-nails, even though well shaped, hard, and polished as agate, possessed not that roseate tint so sure a harbinger of good health, but were surrounded by a pale, blue circlet; while the head of the prince, slightly thrown back, proved that his eyes were cast upwards towards the ceiling.

After having paused for some time, the Prince de Hansfeld recommenced playing, but in an extremely low key.

Whether it were the superior excellence of the mighty organ or the skilful hand that touched it, it is certain that never did sounds so full, so soft, yet so sonorous, breathe forth in notes of melancholy sweetness, amounting almost to passionate expression.

It would be wholly impossible to trace the source of those feelings which found vent in passages at once so thrilling, yet soul-saddening, now plaintive as a sigh, yet sweet and touching as the smile bestowed by a mother on her infant, then breaking forth again in strains harmonious, vague, unfinished, capricious as the thought which, flitting through the mazes of a saddened imagination, suddenly glows with the pure, rapturous whispering of hope, whose finger points from troubled clouds to the clear, serene azure of summer skies. And the hardest heart must have owned the influence of those delicious sounds, descending in gentle melody like a flood of happy tears. In the solemn stillness of the night the rich, full sounds of the organ pealed forth in grander majesty, and ascended unto heaven itself, even as the incense of the heart.

There was one particular strain which occurred frequently and at regular intervals during these inspired performances. To convey a notion of the ideas which were called up by this enchanting passage, played on the highest and most glassy notes of the instrument, it will be requisite to evoke the most youthful, smiling, and joyous images, such as these.