reigned absolute in Lucca.

On first entering, it is difficult to distinguish any thing in the
half-light. The narrow Gothic casements of the whole floor are closed,
both those toward the street and those facing inward upon the inner
court. The outer wooden shutters are also closely fastened. The
marchesa would consider it a sacrilege to allow light or even outer
air to penetrate in these rooms, sacred to the memory of her great
ancestors.

First in order after the great hall is a long gallery paneled with
dark marble. It has a painted ceiling, and a mosaic floor. Statues and
antique busts, presented by the emperor to Paolo Guinigi, are ranged
on either side. This gallery leads through various antechambers to
the retiring-room, where, in feudal times, the consort of the reigning
lord presided when the noble dames of Lucca visited her on state
occasions--a victory gained over the Pisans or Florentines--the
conquest of a rebellious city, Pistoia perhaps--the birth of a son;
or--the anniversary of national festivals. Pale-blue satin stuffs and
delicate brocades, crossed with what was once glittering threads of
gold, cover the walls. Rows of Venetian-glass chandeliers, tinted
in every shade of loveliest color, fashioned into colored knots,
pendants, and flowers, hang from the painted rafters. Mirrors, set
in ponderous frames of old Florentine gilding, dimly reflect every
object; narrow, high-backed chairs and carved wooden benches,
sculptured mosaic tables and ponderous sideboards covered with choice
pottery from Gubbio and Savona, and Lucca della Robbia ware. Sunk
in recesses there are dark cupboards filled with mediaeval salvers,
goblets, and flagons, gold dishes, and plates, and vessels of filigree
and silver. Ivory carvings hang on the walls beside dingy pictures,