We obeyed and he led us to a part of the house I had never visited before. At the end of a passage he unlocked a door and ushered us into a magnificently furnished chamber, in fact it was furnished with a luxury which I had never before imagined. The apartment was of octagon shape and was lighted by a chandelier which hung from the ceiling, suspended therefrom by silver chains. The ceiling itself was beautifully frescoed and was painted with scenes from heathen mythology. Placed here and there throughout the chamber were statuettes made of Parian marble which almost seemed to breathe in the soft artificial light. The floor was covered with a gorgeous medallion carpet and around the walls were placed easy chairs and sofas of the most costly description. A peculiar intoxicating perfume was shed through the room, which had the effect of inducing a soft languor. There were eight panels formed by the octagon shape of the room. The upper portion of each panel was filled by a beautifully executed oil painting, the lower portion by a mirror or plate glass descending to the floor.
Each painting was numbered from one to eight, and they were such exciting subjects and so beautifully executed that I cannot refrain from giving a description of them to the reader. Number one represented a beautiful girl reclining on a sofa, her petticoats raised to reveal the lower portion of her body. Her head was thrown back, her breasts were bare, and her thighs were elevated in the air. In front of her was a young man with the insignia of his sex proudly elevated, menacing the domain of Venus with his formidable weapon. Another girl seated on the sofa behind him was endeavoring to pull him away from her more fortunate companion—her clothes too were raised above her navel, revealing all the secrets of her person. The artist had painted her charms so perfectly that it was difficult to believe they were not real. The lips of her slit and the hair surmounting the hillock of Venus was done to the very life. This picture was labeled The Dispute.
Number two, labeled A Water Party, represented a boat gliding down a silver stream. On the edge of the boat sat a man entirely naked with a girl in the same condition in his arms. Her arms encircled his neck while he grasped her around the body. Her thighs were wrapped tightly around his loins while his instrument was buried to the very hilt in her salacious slit. In the water, a girl was resting on her hands, her plump bubbies just kissing the stream, while behind her stood a man with her legs in his grasp, his staff of love deeply imbedded in her sensitive vagina. The lips of her bijou were beautifully depicted at the lower part of her white bottom. Another nymph was getting into the boat with her back turned to the spectator, thus showing the glorious slope of her back and her voluminous white buttocks and thighs.
Number three, labeled A Complete Seat, represented a man sitting on the edge of a low wall, a lovely girl completely in a state of nature in his lap. She sat sideways. One of her thighs rested on his arm, the other hung down. The elevation of her thigh enabled the spectator to see his pego hovering between the lips of the warm nest destined by nature to receive it.
Number four, entitled Rural Felicity, depicted a beautiful girl seated on a rock beside a stream of water. She was naked, as also was her companion, a stalwart man who kneeled over her belly in such a manner that he had placed his staff between her bubbies, which she squeezed together for the purpose of holding it tightly in position; below his buttocks could be seen the whole of her domain of love his bottom resting on the hairy mount.
Number five, entitled Mutual Enjoyment, represented a man and a woman lying on a couch together, but in reversed position. The man's tongue had penetrated into her lustful cavity, while she had his engine in her mouth, at the same time tickling his testicles with her fingers.
Number six, labeled Garden Studies, represented a beautiful flower garden in the midst of which was a man seated on a rustic bench. A girl was standing over him with her clothes raised up, and his rod was just entering her sheath at the same time that he was titillating her clitoris with his finger.
Number seven, labeled A Scene In The Rocky Mountains, represented a naked nymph seated on a rock, while in front of her stood her lover with her thigh resting on his arms. She had seized his weapon and was just forcing it into her lascivious cavity. A short distance off was another girl, also seated, amusing herself with a dildo, which she had imbedded into her sheath.
Number eight, entitled A Kitchen Scene, represented a naked man embracing a girl from behind. Her head rested on an ottoman placed on a bench, her thighs rested on his shoulders, and he was kissing her bottom, molding her breasts and driving into her vagina all at the same time.
The reader can imagine how the sight of these lascivious pictures acted upon two such excitable girls as we were. I forgot to mention that in the center of the apartment was a long divan, evidently made purposely for the sexual act. It was perfectly certain from our sparkling eyes, from our heightened color, and from our trembling limbs that we were almost crazy with desire and that we were ready to do anything to appease our passions. Still, there was for a moment or two a kind of restraint as to who should begin. Amy was the first to break.