and the walls and ceilings frescoed with historical and mythological scenes in glaring colors. There was enough crazy and rotten rubbish in the building to make the true brick-a-bracker green with envy. A painting in the dining hall verged upon the indelicate,—but then the Margravine was herself a trifle indelicate.
It is in every way a wildly and picturesquely decorated house, and brimfull of interest as a reflection of the character and tastes of that rude bygone time.
In the grounds, a few rods from the palace, stands the Margravine's chapel, just as she left it,—a coarse wooden structure, wholly barren of ornament. It is said that the Margravine would give herself up to debauchery and exceedingly fast living for several months at a time, and then retire to this miserable wooden den and spend a few months in repenting and getting ready for another good time. She was a devoted Catholic, and was perhaps quite a model sort of a Christian as Christians went then, in high life.
Tradition says she spent the last two years of her life in the strange den I have been speaking of, after having indulged herself in one final, triumphant and satisfying spree. She shut herself up there, without company, and without even a servant, and so abjured and forsook the world. In her little bit of a kitchen she did her own cooking; she wore a hair shirt next the skin, and castigated herself with whips,—these aids to grace are exhibited there yet. She prayed and told her beads, in another little room before a waxen Virgin niched in a little box against the wall; she bedded herself like a slave.
In another small room is an unpainted wooden table, and behind it sit half-life-size waxen figures of the Holy Family, made by the very worst artist that ever lived, perhaps, and I clothed in gaudy, flimsy drapery. The Margravine used
- The Savior was represented as a lad of about 15 years of age. This figure had lost one eye.