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There were roller maps upon the walls, and two or three engravings, Bougereau's "Virgin of Consolation," the "Madonna dei Ansidei" of Raffaelle, and a "Crucifixion" over the chimneypiece, which had three little statuettes in tinted alabaster a St. Ignatius at one end, a St. Anthony of Padua at the other; in the middle, the Virgin bearing the Child.
Her cheeks had a transparent fairness, in which the color came and went instead of lingering in any conventional place and manner; her hair was too light to be called brown and too dark to be golden, but was shaded like that on which the sunlight falls in one of Bougereau's pictures of "Mother and Child;" and it rippled away from a broad low brow in natural waves, half hiding the small, shell-like ears.
Billington as Saint Cecilia, Gilbert Stuart's Washington, Horace Vernet's Siege of Saragossa, Raeburn's Portrait of Van Brugh Livingston; in the Stuart Room, Boughton's Pilgrims Going to Church, Schreyer's The Attack, Inness's Hackensack Meadows, Sunset, Troyon's Cow and Sheep, Detaille's Chasseur of the French Imperial Guard, Bougereau's The Secret, and Weir's View of the Highlands from West Point.
Early next morning Bles slipped down and improved the nest; adding foot-rests to make the climbing easy, peep-holes east and west, a bit of carpet over the bark, and on the rough main trunk, a little picture in blue and gold of Bougereau's Madonna. Zora sat hidden and alone in silent ecstasy. Bles peeped in there was not room to enter: the girl was staring silently at the Madonna.
As a matter of fact they would not let me in the room, and I don't know whether it abounded in signed etchings or Bougereau's nymphs. DEAR FAMILY: Today has been more or less feverish.
Afterwards it faced Bougereau's splendid conception of the Christ-mother, as one who had herself thus suffered, consoling another mother grieving over the loss of a son.
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