Wardrobe Furniture Quotes

Before Tessa could answer, there was a knock at the door, and a familiar voice. "It's Jem. Tessa, are you there?" Charlotte sat bolt upright. "Oh! He mustn't see you in your dress!" Tessa stood dumbfounded. "Whyever not?" "It's a Shadowhunter custom—bad luck!" Charlotte rose to her feet. "Quickly! Hide behind the wardrobe!" "The wardrobe? But—" Tessa broke off with a yelp as Charlotte seized her about the waist and frog-marched her behind the wardrobe like a policeman with a particularly resistant criminal. Released, Tessa dusted off her dress and made a face at Charlotte, and they both peeked around the side of the furniture as the seamstress, after a bewildered look, opened the door. Jem's silvery head appeared in the gap. He looked a bit disheveled, his jacket askew. He glanced around in puzzlement before his gaze lighted on Charlotte and Tessa, half-concealed behind the wardrobe.

The Citizen's attic was, objectively, breathtaking. The place was littered with trunks and old clothes and wardrobes and pieces of furniture and strange metal toys no one had played with in sixty years and half-painted canvases and on and on. There were several round windows to let in the sunlight, and I loved how it raked its way across the floor as I watched, dust dancing like sugerplum fairies in the bold yellow glow. If attics could make wishes, this one would have nothing to wish for.

THe room was large and low-ceilinged, the striped wallpaper faded to inoffensiveness. A huge dark wardrobe faced a huge dark bed. The rest of the furniture shrank away into corners, battered and apologetic.

Facing the only gas-lamp yawned the cavern of a second-hand furniture dealer, where, deep in the gloom of a sort of narrow avenue winding through a bizarre forest of wardrobes, with an undergrowth tangle of table legs, a tall pier-glass glimmered like a pool of water in a wood. An unhappy, homeless couch, accompanied by two unrelated chairs, stood in the open.

The sap mounts in the stems, the buds burst with faint sound, and the darkness is full of the noises of growth. There is night in the room, and the moon. There is life in the room. It creaks in the furniture, the table cracks and the wardrobe also. Many years ago some one felled these and split them, planed them and worked them into things of utility, into chairs and beds - but each springtime, in the darkness of the sap, it stirs and reverberates in them again; they waken, they stretch themselves, they are mere objects of use no longer, no longer chairs for a purpose; once again they have part in a the streaming and flowing outside. The boards under my feet creak and move of themselves, the wood of the window still cracks under my hands, and in front of the door even the splintered, decaying trunk of a lime tree by the roadside is thrusting out fat brown buds. In a few weeks it too will have little silken green leaves, as surely s the wide-spreading branches of the plane tree overshadowing it.

She sinks into the armchair by the window. It's soft, deep, and striped in her favorite colors: dusty pink and green. Nearly a year and a half after Francois died, Amandine insisted on redesigning the bedroom and, although Heloise protested at the time, she's grateful for it now. The room is a fairy tale, an escape from reality, a reminder of the romance of the past instead of the grief of the present. The bed is wrought-iron with white sheets and a canopy of cream gauze. The desks, bookshelves, and matching wardrobe are all original Victorian antiques painted white. With the touch of a sparkling crystal chandelier, Amandine created a room that gives Heloise a tiny smile of pleasure every time she wakes.

But when, by the improvement and cultivation of land, the labour of one family can provide food for two, the labour of half the society becomes sufficient to provide food for the whole. The other half, therefore, or at least the greater part of them, can be employed in providing other things, or in satisfying the other wants and fancies of mankind. Clothing and lodging, household furniture, and what is called equipage, are the principal objects of the greater part of those wants and fancies. The rich man consumes no more food than his poor neighbour. In quality it may be very different, and to select and prepare it may require more labour and art; but in quantity it is very nearly the same. But compare the spacious palace and great wardrobe of the one, with the hovel and the few rags of the other, and you will be sensible that the difference between their clothing, lodging, and household furniture, is almost as great in quantity as it is in quality. The desire of food is limited in every man by the narrow capacity of the human stomach; but the desire of the conveniencies and ornaments of building, dress, equipage, and household furniture, seems to have no limit or certain boundary. Those, therefore, who have the command of more food than they themselves can consume, are always willing to exchange the surplus, or, what is the same thing, the price of it, for gratifications of this other kind. What is over and above satisfying the limited desire, is given for the amusement of those desires which cannot be satisfied, but seem to be altogether endless. The poor, in order to obtain food, exert themselves to gratify those fancies of the rich; and to obtain it more certainly, they vie with one another in the cheapness and perfection of their work. The number of workmen increases with the increasing quantity of food, or with the growing improvement and cultivation of the lands; and as the nature of their business admits of the utmost subdivisions of labour, the quantity of materials which they can work up, increases in a much greater proportion than their numbers. Hence arises a demand for every sort of material which human invention can employ, either usefully or ornamentally, in building, dress, equipage, or household furniture; for the fossils and minerals contained in the bowels of the earth, the precious metals, and the precious stones.

No, certainly. We shall not have to explore our way into a hall dimly lighted by the expiring embers of a wood fire—nor be obliged to spread our beds on the floor of a room without windows, doors, or furniture. But you must be aware that when a young lady is (by whatever means) introduced into a dwelling of this kind, she is always lodged apart from the rest of the family. While they snugly repair to their own end of the house, she is formally conducted by Dorothy, the ancient housekeeper, up a different staircase, and along many gloomy passages, into an apartment never used since some cousin or kin died in it about twenty years before. Can you stand such a ceremony as this? Will not your mind misgive you when you find yourself in this gloomy chamber—too lofty and extensive for you, with only the feeble rays of a single lamp to take in its size—its walls hung with tapestry exhibiting figures as large as life, and the bed, of dark green stuff or purple velvet, presenting even a funereal appearance? Will not your heart sink within you?” “Oh! But this will not happen to me, I am sure.” “How fearfully will you examine the furniture of your apartment! And what will you discern? Not tables, toilettes, wardrobes, or drawers, but on one side perhaps the remains of a broken lute, on the other a ponderous chest which no efforts can open, and over the fireplace the portrait of some handsome warrior, whose features will so incomprehensibly strike you, that you will not be able to withdraw your eyes from it. Dorothy, meanwhile, no less struck by your appearance, gazes on you in great agitation, and drops a few unintelligible hints. To raise your spirits, moreover, she gives you reason to suppose that the part of the abbey you inhabit is undoubtedly haunted, and informs you that you will not have a single domestic within call. With this parting cordial she curtsies off—you listen to the sound of her receding footsteps as long as the last echo can reach you—and when, with fainting spirits, you attempt to fasten your door, you discover, with increased alarm, that it has no lock.

Then his tears came once more, and feeling cold he went into his dressing-room to look for something to throw around his shoulders. But he had lost control of his hand so that it moved like a brainless creature and completely failed to carry out the small mathematical operation which consisted, because the inside of the wardrobe was dark, in fumbling a way through the different velvets, silks and satins of his mother's outmoded dresses which, since she had given up wearing them, for many years, she had put away in this piece of furniture, until it could feel the wooden jamb, far back, which separated these garments from his own, and, on reaching the second rough-surfaced coat, to take it from the hanger from which it depended. Instead, it tore down the first piece of fabric it encountered. This happened to be a black velvet coat, trimmed with braid, and lined with cherry-coloured satin and ermine, which, mauled by the violence of his attack, he pulled into the room like a young maiden whom a conqueror has seized and dragged behind him by the hair. In just such a way did Jean now brandish it, but even before his eyes had sent their message to his brain, he was aware of an indefinable fragrance in the velvet, a fragrance that had greeted him when, at ten years old, he had run to kiss his mother—in those days still young, still brilliant and still happy—when she was all dressed up and ready to go out, and flung his arms about her waist, the velvet crushed within his hand, the braid tickling his cheeks, while his lips, pressed to her forehead, breathed in the glittering sense of all the happiness she seemed to hold in keeping for him.

What are you doing?” Leo demanded, wondering if she had lost her wits entirely. “He doesn’t need a lamp, Win.” Ignoring him, Win removed the glass fount and tossed it to the bed. She did the same with the brass wick burner, exposing the oil reservoir. Without hesitation, she poured the lamp oil over the front of the wardrobe. The pungent odor of highly flammable paraffin spread through the room. “Have you lost your mind?” Leo demanded, astonished not only by her actions, but also by her calm demeanor. “I have a matchbox, Julian,” she said. “Tell me what to give Mr. Rohan, or I’ll set the wardrobe on fire.” “You wouldn’t dare,” Harrow cried. “Win,” Leo said, “you’ll burn the entire damned house down, just after it’s been rebuilt. Give me the bloody matchbox.” She shook her head resolutely. “Are we starting a new springtime ritual?” Leo demanded. “The annual burning-of-the-manse? Come to your senses, Win.” Win turned from him and glared at the wardrobe door. “I was told, Julian, that you killed your first wife. Possibly by poison. And now knowing what you have done to my brother-in-law, I believe it. And if you don’t help us, I’m going to roast you like a piece of Welsh rarebit.” She opened the matchbox. Realizing she couldn’t possibly be serious, Leo decided to back her bluff. “I’m begging you, Win,” he said theatrically, “don’t do this. There’s no need to—Christ!” This last as Win struck a match and set the wardrobe on fire. It wasn’t a bluff, Leo thought dazedly. She actually intended to broil the bastard. At the first bright, curling blossom of flame, there was a terrified cry from inside the wardrobe. “All right! Let me out! Let me out! It’s tannic acid. Tannic acid. It’s in my medical case; let me out!” “Very well, Leo,” Win said, a bit breathless. “You may extinguish the fire.” In spite of the panic that raced through his veins, Leo couldn’t suppress a choked laugh. She spoke as if she’d asked him to snuff a candle, not put out a large flaming piece of furniture. Tearing off his coat, he rushed forward and beat wildly at the wardrobe door. “You’re a madwoman,” he told Win as he passed her. “He wouldn’t have told us otherwise,” Win said.