sound fabulous on paper, but it is here that some of the most precious
treasures are found; cabinets of ivory, ebony, gems, gold, and silver,
and the pictures alone represent a princess's dowry. Examples of some of
the greatest masters are here: Velasquez, Rembrandt, Rubens, Claude
Lorraine, the Caracci, Bordone, Reynolds, lastly among moderns, Ingres
and Hippolyte Flandrin. Much might be said about these pictures, if
space permitted, but they alone are worth making the journey from Paris
or Couilly to see.

We find a very pleasing Murillo and some exquisite little specimens of
the early German school in other parts of the chateau, although the gems
of the collection are undoubtedly the Bordones, Rembrandts, and
Reynoldses. But the _creme de la creme_ of Baron Rothschild's treasures
is not to be found in this sumptuous hall, in spite of tapestries,
pictures, marbles and rare furniture, nor in the state _salon_, but in
the dining-room, a marvellously rich and gorgeous apartment, where the
wealth of gold and splendid colours is toned down, and the eye is rather
refreshed than dazzled by the whole. On the walls, reaching from base to
ceiling, are hung a series of paintings on leather, known as the _Cuirs
de Cordoue_, leather paintings of Cordova. They are historic and
allegorical subjects, and are painted in rich colours with a great
abundance of gold on a dark background, the general effect being that of
a study in gold and brown.

As good luck would have it, immediately after my visit to Ferrieres, I
happened to hear of the Baron Davillier's learned little treatise on
this ancient leather-work, or _Guadamaciles_, variously called _cuir
d'or, cuirs dores, cuirs basanes_, &c. The history of these artistic
varieties is so curious, that I will give it in as few words as
possible.