Page:The silent prince - a story of the Netherlands (IA cu31924008716957).pdf/90

 which fell from a silver lamp suspended from the ceiling. A marble bust of Christ, sculptured in bas-relief, filled a niche in the corner of the room, while on the walls were the masterpieces of Rubens, “The Descent from the Cross” and “The Adoration of the Magi.”

The Jesuit did not linger to read or pray, but walked toward that portion of the wall which was devoid of ornamentation, but which in other respects seemed no different from the other walls. Touching a secret spring, a door opened, revealing a small apartment beyond, which the priest entered. It was a beautiful room, fitted up with all the luxury known to this age. The Regent herself did not occupy a more elegantly appointed room. Aside from the rich tapestries and antique furniture, the walls were literally covered with costly paintings. The Superior was a passionate admirer of beauty in all its manifold forms. He compensated in a measure for his outward life of asceticism, and satisfied the cravings of his nature with these rare paintings, which were the companions of his solitude. There were pictures of beautiful women that smiled on the priest from the canvas, without coquetry or caprice. A connoisseur of art, the Superior had selected those gems which had caught the reflection of every type of loveliness embodied in the female face and form. There were several pictures of the Madonna of rare merit, with the sweet