A little removed from the old Judge (excellent man) sits Anna Bonard, like a jewel among stones less brilliant, George Mullholland on her left. Her countenance wears an expression of gentleness, sweet and touching. Her silky black hair rolls in wavy folds down her voluptuous shoulders, a fresh carnatic flush suffuses her cheeks, her great black eyes, so beautifully arched with heavy lashes, flash incessantly, and to her bewitching charms is added a pensive smile that now lights up her features, then subsides into melancholy.
"What think you of my statuary?" inquired the old hostess, "and my antiques? Have I not taste enough for a princess?" How soft the carpet, how rich its colors! Those marble mantel-pieces, sculptured in female figures, how massive! How elegantly they set off each end of the hall, as we shall call this room; and how sturdily they bear up statuettes, delicately executed in alabaster and Parian, of Byron, Goethe, Napoleon, and Charlemagne-two on each. And there, standing between two Gothic windows on the front of the hall, is an antique side-table, of curious design. The windows are draped with curtains of rich purple satin, with embroidered cornice skirts and heavy tassels. On this antique table, and between the undulating curtains, is a marble statue of a female in a reclining posture, her right hand supporting her head, her dishevelled hair flowing down her shoulder. The features are soft, calm, and almost grand. It is simplicity sleeping, Madame Flamingo says. On the opposite side of the hall are pedestals of black walnut, with mouldings in gilt, on which stand busts of Washington and Lafayette, as if they were unwilling spectators of the revelry. A venerable recline, that may have had a place in the propyl‘a, or served to decorate the halls of Versailles in the days of Napoleon, has here a place beneath the portrait of Jefferson. This humble tribute the old hostess says she pays to democracy. And at each end of the hall are double alcoves, over the arches of which are great spread eagles, holding in their beaks the points of massive maroon-colored drapery that falls over the sides, forming brilliant depressions. In these alcoves are groups of figures and statuettes, and parts of statuettes, legless and armless, and all presenting a rude and mutilated condition. What some of them represented it would have puzzled the ancient Greeks to decypher. Madame, nevertheless, assures her guests she got them from among the relics of Italian and Grecian antiquity. You may do justice to her taste on living statuary; but her rude and decrepit wares, like those owned and so much valued by our New York patrons of the arts, you may set down as belonging to a less antique age of art. And there are chairs inlaid with mosaic and pearl, and upholstered with the richest and brightest satin damask,—revealing, however, that uncouthness of taste so characteristic of your Fifth Avenue aristocrat.
Now cast your eye upward to the ceiling. It is frescoed with themes of a barbaric age. The finely-outlined figure of a female adorns the centre. Her loins are enveloped in what seems a mist; and in her right hand, looking as if it were raised from the groundwork, she holds gracefully the bulb of a massive chandelier, from the jets of which a refulgent light is reflected upon the flowery banquet table. Madame smilingly says it is the Goddess of Love, an exact copy of the one in the temple of Jupiter Olympus. Another just opposite, less voluptuous in its outlines, she adds, is intended for a copy of the fabled goddess, supposed by the ancients to have thrown off her wings to illustrate the uncertainty of fortune.
Course follows course, of viands the most delicious, and sumptuously served. The wine cup now flows freely, the walls reecho the coarse jokes and coarser laughs of the banqueters, and leaden eyelids, languid faces, and reeling brains, mark the closing scene. Such is the gorgeous vice we worship, such the revelries we sanction, such the insidious debaucheries we shield with the mantle of our laws-laws made for the accommodation of the rich, for the punishment only of the poor. And a thousand poor in our midst suffer for bread while justice sleeps.
Midnight is upon the banqueters, the music strikes up a last march, the staggering company retire to the stifled air of resplendent chambers. The old hostess contemplates herself as a princess, and seriously believes an alliance with Grouski would not be the strangest thing in the world. There is, however, one among the banqueters who seems to have something deeper at heart than the transitory offerings on the table-one whose countenance at times assumes a thoughtfulness singularly at variance with those around her. It is Anna Bonard.
Only to-day did George Mullholland reveal to her the almost hopeless condition of poor Tom Swiggs, still confined in the prison, with criminals for associates, and starving. She had met Tom when fortune was less ruthless; he had twice befriended her while in New York. Moved by that sympathy for the suffering which is ever the purest offspring of woman's heart, no matter how low her condition, she resolved not to rest until she had devised the means of his release. Her influence over the subtle-minded old Judge she well knew, nor was she ignorant of the relations existing between him and the accommodation man.
On the conclusion of the feast she invites them to her chamber. They are not slow to accept the invitation. "Be seated, gentlemen, be seated," she says, preserving a calmness of manner not congenial to the feelings of either of her guests. She places chairs for them at the round table, upon the marble top of which an inlaid portfolio lies open.
"Rather conventional," stammers Mr. Snivel, touching the Judge significantly on the arm, as they take seats. Mr. Snivel is fond of good wine, and good wine has so mellowed his constitution that he is obliged to seek support for his head in his hands.
"I'd like a little light on this 'ere plot. Peers thar's somethin' a foot," responds the Judge.
Anna interposes by saying they shall know quick enough. Placing a pen and inkstand on the table, she takes her seat opposite them, and commences watching their declining consciousness. "Thar," ejaculates the old Judge, his moody face becoming dark and sullen, "let us have the wish."