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Updated: June 28, 2025
The drawing-room furniture, from the eighteenth century, displayed its discreet elegance against the sage green walls and the formal folds of the mulberry-colored curtains; while over the chimney piece, which was ornamented with three vases of the Renaissance in silver gilt, a painting by Bronzino focused the gaze upon a triumph of romance over formality.
Here the glitter of old chandeliers fell upon the suave outlines of colonial furniture upholstered with sage green and mulberry-colored fabrics, chimney pieces of mellow marble carved into graceful flourishes and bearing on their shelves quaint bric-a-brac, family portraits in frames that it would have been a sacrilege to furbish up ladies dressed in the fashion of 1812, French and English gentlemen in antique uniforms, a few of these likenesses doubly precious because they were painted so naïvely.
So the house was crowded at eleven in the morning, and the bride came through the wide hall in a mulberry-colored satin gown and pelisse that had been made two weeks before for ordinary autumn wear. But her bonnet was white with long streamers, and her gloves were white, and she made a very attractive bride, while young Sargent was manly and looked proud enough for a king.
The man advanced with a careless, stately swing, his head was thrown back, his mulberry-colored coat had a sheen like a leaf in the sun. The man was Thomas Payne. Barney turned white as he watched him. He had not known he was in town, and his jealous heart at once whispered that he had come to see Charlotte. Thomas Payne came opposite the house, then passed out of sight.
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