Penhallow by Georgette Heyer Read Free Book Online Page A

impression anyone entering it was of colour, so varied and unexpected as to make the uninitiated blink.
    The room was crammed with furniture, and ornanments jostled one another on the mantelpiece, on the tops of several chests, over several small tables which had been fitted into any vacant space that offered. These, like the  incredible assortment of furniture, seemed to have been chosen without regard to period or congruity, which was indeed the case, Penhallow having crammed into the room every piece that took his fancy. Thus, a red lacquer cabinet, with an ivory figure of the god Ho-Ti on the top of it, stood between the two windows at one end of the room, and two repulsive plant-holders, fashioned of bamboo and each containing some half-a-dozen pots of tropical greenery, stood under the corresponding windows at the other end of the room. Flanking the fireplace were two enormous malachite vases, on consoles, which had been wrested from the Yellow drawing-room. In one corner stood a marble-topped wash-stand of red mahogany, imperfectly hidden by a cheap Japanese screen which showed a covey of golden birds flying on a black ground. Close to this, on the wall opposite to the fireplace, was a marquetry chest, mellow with age, rubbing shoulders with a delicate table of yellow satinwood, squeezed between it and the bed. Beyond the bed, a walnut tallboy confronted a round table covered with a crimson chenille cloth, and a Carolinian day-bed of particularly graceful design, whose frayed cane seat and back were fitted with squabs of faded wine-red velvet. Penhallow’s wheeled chair stood in the corner, and a long refectory table, piled with books, papers, decanters, medicine-bottles, and a canvas-bag from which several dog-biscuits had spilled, occupied most of the space behind the front windows. A mahogany corner-cupboard hung beside the door into the dressing-room; several armchairs of varied design and colour were scattered about the room, together with a pair of rush-seated ladder-back chairs; an early Chippendale stool, with cabriole legs and claw-and-ball feet; an angular seat of Gothic design and unsurpassed discomfort; and a large chesterfield, which was drawn across the foot of the bed. There were no pictures on the walls, but a convex mirror of Queen Anne date, set in a gilded frame, hung over the mantelpiece, and there were a number of candle-sconces round the room. On the mantelpiece, a gilt time-piece with an enamelled face, and supported by nymphs and cherubim, stood under a glass dome, and was flanked by a pair of Rockingham pheasants, one or two pieces belonging to an old chess-set, and two groups of bronze horses. The corner by the double doors was taken up by a grandfather clock of Chippendale-chinois; and, placed wherever space could be found for them, were some small, spindle-legged tables, covered with punch-spoons, snuff boxes, patch-boxes, Bristol paper-weights, and Dresden figures.
    But it was not the medley of ornaments, the crowded furniture, or the juxtaposition of wine-red and crimson and the hot scarlet of Chinese lacquer which instantly claimed and held the visitor’s attention. Colour rioted in the carpet which almost covered the floor, grass-green curtains swore at chairs upholstered in peacock-blue, but they all faded into neutrality beside the blaze of colour thrown over Penhallow’s bed in the form of a patchwork quilt sewn in multi-coloured hexagons of satin, velvet and brocade.
    The bed itself dominated the room. It might have burn supposed that so massive and antiquated a structure had been in the family for generations: in actual fact Penhallow had bought it at a sale some years previously. It was an enormous four-poster of painted wood, hung about with curtains of mulberry velvet, much rubbed and faded with age, with a ceiling painted with a design of cupids and rose-garlands, and an intricate arrangement of cupboards and drawers set in the tall headpiece. It stood uncomfortably high, and