But in this chamber only, the color of the windows failed to correspond with the decorations. The seventh apartment was closely shrouded in black velvet tapestries that hung all over the ceiling and down the walls, falling in heavy folds upon a carpet of the same material and hue. The fourth was furnished and lighted with orange –the fifth with white – the sixth with violet. The third was green throughout, and so were the casements. The second chamber was purple in its ornaments and tapestries, and here the panes were purple. That at the eastern extremity was hung, for example, in blue – and vividly blue were its windows. These windows were of stained glass whose color varied in accordance with the prevailing hue of the decorations of the chamber into which it opened. To the right and left, in the middle of each wall, a tall and narrow Gothic window looked out upon a closed corridor which pursued the windings of the suite. There was a sharp turn at every twenty or thirty yards, and at each turn a novel effect. The apartments were so irregularly disposed that the vision embraced but little more than one at a time. Here the case was very different as might have been expected from the duke’s love of the bizarre. In many palaces, however, such suites form a long and straight vista, while the folding doors slide back nearly to the walls on either hand, so that the view of the whole extent is scarcely impeded.
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