The Mysteries of the Court of London — page 135: what you’re looking at

Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.

122 THE MYSTERIES OF THE COURT. in the place with which that door communicated ? —and was a tacit invitation thus conveyed for Venetia to enter thither ? She asked herself these questions: but, being unable to solve them even in conjecture, she re- mained calmly and tranquilly where she was, dis- daining to trouble herself or even to gratify her curiosity by approaching that open door. Ten minutes elapsed—and no one came. She consulted her watch and thus ascertained that the time was passing in this manner. Feeling indig- nant at being kept waiting, she rose and rang the bell violently: then she remained standing in an- ticipation of the entrance of a servant to answer her summons. But mo one came. She rang a se- cond time, more violently than at first: bat still her summons was unanswered. The flush upon her cheeks deepened into a vivid scariet—her eyes flashed fire—her nostrils dilated proudly—and she drew herself up to the fall of her noble height, as if longing to encounter some one on whom she might vent her wrath. She was about to ring a third time: but her pride would not permit her. She felt herself out- raged, and resolved to leave the mansion that mo- ment. But as she was about to resume her bonnet and cloak, the thought flashed to her like an inspi- ration that she was perhaps a prisoner. Not choosing to appear so ridiculous even to herself, as to prepare for departure and then find that she was baffled in her purpose, she advanced to the door by which she had been introduced into the room; and she found it locked. Her apprehension was thus confirmed ;—but smiling scornfully, she returned to her seat on the sofa. Her eyes now again fell upon the door facing her, which stood partially open: and she resolved, after some degree of hesitation, to see whither it led. She accordingly approached the door, and perceived that a light shone from qithin. She ad- vanced—sbe reached the threshold—and beheld a small but luxuriously-furnished room, lighted by a silver lamp suspended to the eeiling. Sofas were ranged all around against the walls, in the oriental style; and vases of flowers exhaled a delicious per- fume. At the extremity of the room another door stood half open; and seeing nobody, Venetia con- tinued to advance. This second door admitted her into a room still sinaller than the one she had just traversed, but still more luxuriously furnished. The carpet was the thickest on which she had ever trodden : there were no sofas, but a number of large and massive arm-chairs, each provided with a cushion of im- mense size ;—and the table in the centre was spread with delicious-looking fruits, confectionary, and eweets in crystal dishes, as well as with wines of numerous descriptions. The scene was lighted by a lamp with a ground-glass globe, so that the lus- tre was subdued and mellow. A third door stood open before Venetia’s eyes : and, still encountering no human soul, she pursued ber way. Bat now she entered into a gallery where the light was softer and far more subdued than it even was in the refreshment-chamber which she had jast traversed; and pausing fer a few moments, she perceived that this gallery was filled with pictures and statues. Her curiosity in- creased: the anger which she had ere now expe- vienced to such a degree was fast merging into a feeling of admiration at the beautiful suite of apartments she was now exploring ;—and she ad- vanced farther into the gallery. The first object which she now contemplated with attention was a sculptured group of the Three Graces, as large as life: but as she gazed upon the exquisite work of art, the thought im- perceptibly stole into her mind that instead of being characterised by that charming air of inno- eence with which those heathen personifications are usually invested, there was something deeply sen- suous in the countenances and attitudes of the statues. She passed on to the next group, which represented Leda toying with Jupiter in the form of a swan. The sculpture was exquisite—and at the first glance the effect was a feeling of delight at the survey of so perfect a creation from marble. But by dwelling upon the piece the eye became aware that the softly sensuous air which invested the first group, deepened into a more confirmed voluptuousness with this second one: for the whole attitude of Leda indicated a tremulous longing for some unknown joy, as that amorous dalliance with the disguised god poured its impassioned influence throughout her whole frame. The effetts thus described, as produced by the two first specimens of sculpture, were not however of that decided character which could destroy the more pleasing impression arising from the beautifal perfection of the workmanship. Venetia accord- ingly advanced to examine the third group, which represented Mars and Venus clasped in each other’s arms, and ensnared by the almost invisible but inextricable net-work which the jealous Vulcan had spread to surprise them. As a specimen of art the design and execution were inimitable; but the beauty of the Goddess of Love was so inti- mately blended with an expression of wantonneas, that the very effigy appeared to glow and palpitate as if ready to burst into the ardour of ungovern- able passion. But still there was nothing that could possibly shock or disgust the female mind : the impression produced was that of a highly- wrought scene in a novel, where the artifice of well chosen language and the fascinations of poetic description flimsily wrap up the naked truth. Venetia therefore passed on to the fourth group of marble statues: and this represented a Satyr seizing upon a Dryad, or Wood-Nymph, whom he was supposed to have surprised in her nude loveli- ness as she issued from a stream where she had been bathing. This specimen, though as admirable as the others in point of art, was nevertheless so flagrant in its undisguised indecency, that Miss Trelawney at once turned away shocked and disgusted: and as she was retreating towards the door by which she had entered the gallery, her eyes fell upon one of the pictures suspended to the wall. The sub- ject was the Rape of the Sabines: in fact, the picture was to a certain degree a copy of Reubens splendid master-plece that is now preserved at the National Gallery in Trafalgar Square :—but the copyist had so enhanced the indelicacy of the scene, and had heightened its details into such voluptuons effects, that it burst upon the gaze like , the sudden exposure of an orgie in a brothel. With glowing cheeks, flashing eyes, and palpi- tating bosom, Venetia Trelawney rushed back into the refreshment-room, where she threw herself into ecommicoooks