Next in importance, as a matter of mere decoration, must be cited the tapestries of which there is a rare and valuable collection, chiefly in the hall, so called, where they are arrayed about the running gallery surmounting the pictures. What this hall must be worth would perhaps sound fabulous on paper, but it is here that some of the most precious treasures are found; cabinets of ivory, ebony, gems, gold, and silver, and the pictures alone represent a princess's dowry. Examples of some of the greatest masters are here: Velasquez, Rembrandt, Rubens, Claude Lorraine, the Caracci, Bordone, Reynolds, lastly among moderns, Ingres and Hippolyte Flandrin. Much might be said about these pictures, if space permitted, but they alone are worth making the journey from Paris or Couilly to see.
We find a very pleasing Murillo and some exquisite little specimens of the early German school in other parts of the château, although the gems of the collection are undoubtedly the Bordones, Rembrandts, and Reynoldses. But the _crème de la crème_ of Baron Rothschild's treasures is not to be found in this sumptuous hall, in spite of tapestries, pictures, marbles and rare furniture, nor in the state _salon_, but in the dining-room, a marvellously rich and gorgeous apartment, where the wealth of gold and splendid colours is toned down, and the eye is rather refreshed than dazzled by the whole. On the walls, reaching from base to ceiling, are hung a series of paintings on leather, known as the _Cuirs de Cordoue_, leather paintings of Cordova. They are historic and allegorical subjects, and are painted in rich colours with a great abundance of gold on a dark background, the general effect being that of a study in gold and brown.
As good luck would have it, immediately after my visit to Ferrières, I happened to hear of the Baron Davillier's learned little treatise on this ancient leather-work, or _Guadamaciles_, variously called _cuir d'or, cuirs dorés, cuirs basanés_, &c. The history of these artistic varieties is so curious, that I will give it in as few words as possible.
Guadamacil, a Spanish word, signifying painted leather, is supposed to have its origin in the city of Ghadamès, Sahara, where M. Duveyrier the eminent French explorer, was making scientific inquiries in 1860. The Kadi knowing M. Duveyrier's interest in all that concerned the history of this city in the desert, drew his attention to the following passage in the geographical work of a learned Tunisian, dating from the sixth century of the Hegira, that is to say, the twelfth of our era. "Ghadamès--from 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 constant intercourse with the inhabitants of North Africa, and would naturally receive these with other artistic curiosities. The Arab dictionary of Freytag confirms M. Duveyrier's etymology, the author thus describing Ghadamès--"Nomen oppidi in Africa, unde pelles gudsamiticae appellatae sunt."