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Next in importance, as a matter of mere decoration, must be cited thetapestries of which there is a rare and valuable collection, chiefly inthe hall, so called, where they are arrayed about the running gallerysurmounting the pictures. What this hall must be worth would perhapssound fabulous on paper, but it is here that some of the most precioustreasures are found; cabinets of ivory, ebony, gems, gold, and silver, and the pictures alone represent a princesss dowry. Examples of some ofthe greatest masters are here: Velasquez, Rembrandt, Rubens, ClaudeLorraine, the Caracci, Bordone, Reynolds, lastly among moderns, Ingresand Hippolyte Flandrin. Much might be said about these pictures, ifspace permitted, but they alone are worth making the journey from Parisor Couilly to see. We find a very pleasing Murillo and some exquisite little specimens ofthe early German school in other parts of the chateau, although the gemsof the collection are undoubtedly the Bordones, Rembrandts, andReynoldses. But the creme de la creme of Baron Rothschilds treasuresis not to be found in this sumptuous hall, in spite of tapestries, pictures, marbles and rare furniture, nor in the state salon, but inthe diningroom, a marvellously rich and gorgeous apartment, where thewealth of gold and splendid colours is toned down, and the eye is ratherrefreshed than dazzled by the whole. On the walls, reaching from base toceiling, are hung a series of paintings on leather, known as the Cuirsde Cordoue, leather paintings of Cordova. They are historic andallegorical subjects, and are painted in rich colours with a greatabundance of gold on a dark background, the general effect being that ofa study in gold and brown. As good luck would have it, immediately after my visit to Ferrieres, Ihappened to hear of the Baron Davilliers learned little treatise onthis ancient leatherwork, or Guadamaciles, variously called cuirdor, cuirs dores, cuirs basanes, &c. The history of these artisticvarieties is so curious, that I will give it in as few words aspossible. Guadamacil, a Spanish word, signifying painted leather, is supposed tohave its origin in the city of Ghadames, Sahara, where M. Duveyrier theeminent French explorer, was making scientific inquiries in 1860. TheKadi knowing M. Duveyriers interest in all that concerned the historyof this city in the desert, drew his attention to the following passagein the geographical work of a learned Tunisian, dating from the sixthcentury of the Hegira, that is to say, the twelfth of our era. Ghadamesfrom this city come the painted leathers or Ghadamesien. M. Duveyrier accepted this etymology of the word as the most natural, seeing that the Moors of Spain, and especially of Cordova, had constantintercourse with the inhabitants of North Africa, and would naturallyreceive these with other artistic curiosities. The Arab dictionary ofFreytag confirms M. Duveyriers etymology, the author thus describingGhadamesNomen oppidi in Africa, unde pelles gudsamiticae appellataesunt.

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Next in importance, as a matter of mere decoration, must be cited thetapestries of which there is a rare and valuable collection, chiefly inthe hall, so called, where they are arrayed about the running gallerysurmounting the pictures. What this hall must be worth would perhapssound fabulous on paper, but it is here that some of the most precioustreasures are found; cabinets of ivory, ebony, gems, gold, and silver, and the pictures alone represent a princesss dowry. Examples of some ofthe greatest masters are here: Velasquez, Rembrandt, Rubens, ClaudeLorraine, the Caracci, Bordone, Reynolds, lastly among moderns, Ingresand Hippolyte Flandrin. Much might be said about these pictures, ifspace permitted, but they alone are worth making the journey from Parisor Couilly to see. We find a very pleasing Murillo and some exquisite little specimens ofthe early German school in other parts of the chateau, although the gemsof the collection are undoubtedly the Bordones, Rembrandts, andReynoldses. But the creme de la creme of Baron Rothschilds treasuresis not to be found in this sumptuous hall, in spite of tapestries, pictures, marbles and rare furniture, nor in the state salon, but inthe diningroom, a marvellously rich and gorgeous apartment, where thewealth of gold and splendid colours is toned down, and the eye is ratherrefreshed than dazzled by the whole. On the walls, reaching from base toceiling, are hung a series of paintings on leather, known as the Cuirsde Cordoue, leather paintings of Cordova. They are historic andallegorical subjects, and are painted in rich colours with a greatabundance of gold on a dark background, the general effect being that ofa study in gold and brown. As good luck would have it, immediately after my visit to Ferrieres, Ihappened to hear of the Baron Davilliers learned little treatise onthis ancient leatherwork, or Guadamaciles, variously called cuirdor, cuirs dores, cuirs basanes, &c. The history of these artisticvarieties is so curious, that I will give it in as few words aspossible. Guadamacil, a Spanish word, signifying painted leather, is supposed tohave its origin in the city of Ghadames, Sahara, where M. Duveyrier theeminent French explorer, was making scientific inquiries in 1860. TheKadi knowing M. Duveyriers interest in all that concerned the historyof this city in the desert, drew his attention to the following passagein the geographical work of a learned Tunisian, dating from the sixthcentury of the Hegira, that is to say, the twelfth of our era. Ghadamesfrom this city come the painted leathers or Ghadamesien. M. Duveyrier accepted this etymology of the word as the most natural, seeing that the Moors of Spain, and especially of Cordova, had constantintercourse with the inhabitants of North Africa, and would naturallyreceive these with other artistic curiosities. The Arab dictionary ofFreytag confirms M. Duveyriers etymology, the author thus describingGhadamesNomen oppidi in Africa, unde pelles gudsamiticae appellataesunt.

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