A great sideboard with decanters and glasses and chafing-dishes faced the window from the end wall.

The entrance to the studio opened to the left of it, which entrance Vandover had hung with curtains of dust-brown plush.
The casts of the Assyrian _bas-reliefs_ were against the wall upon either side of the window.

There were three of them, two representing scenes from the life of the king, the third the wounded lioness which Vandover never wearied of admiring.
Upon the wall over the mantel hung two very large photogravures, one of Rembrandt's "Night Watch," the other a portrait of Velasquez representing a young man with a hunting spear.

Above one of the bookcases was an admirable reproduction of the "Mona Lisa"; above the other, a carbon print of a Vandyke, a Dutch lady in a silk gown and very high ruff.
By the side of the "Mona Lisa," however, was a cheap brass rack stuffed with photographs: actresses in tights, French quadrille dancers, high kickers, and chorus girls.
In the studio, Vandover had tacked great squares and stripes of turkey-red cloth against the walls to serve as a background for his sketches.

Some dozen or more portfolios and stretchers were leaned against the baseboard, and a few ornaments and pieces of furniture, such things as Vandover set but little store by, were carelessly arranged about the room.