In the corners of the room, on pedestals, were lamps of royal magnificence, as to which a manufacturer had made strong remonstrance against adapting his lamps to Japanese vases.

On a marvellous sideboard was displayed a service of silver plate, the gift of an English lord, also porcelains in high relief; in short, the luxury of an actress who has no other property than her furniture.
The bedroom, all in violet, was a dream that Florine had indulged from her debut, the chief features of which were curtains of violet velvet lined with white silk, and looped over tulle; a ceiling of white cashmere with violet satin rays, an ermine carpet beside the bed; in the bed, the curtains of which resembled a lily turned upside down was a lantern by which to read the newspaper plaudits or criticisms before they appeared in the morning.

A yellow salon, its effect heightened by trimmings of the color of Florentine bronze, was in harmony with the rest of these magnificences, a further description of which would make our pages resemble the posters of an auction sale.

To find comparisons for all these fine things, it would be necessary to go to a certain house that was almost next door, belonging to a Rothschild.
Sophie Grignault, surnamed Florine by a form of baptism common in theatres, had made her first appearances, in spite of her beauty, on very inferior boards.

Her success and her money she owed to Raoul Nathan.