Ludwig's heart being large, Die Schönheitengalerie (as the "Gallery of Beauties" was called) filled two separate rooms. The one qualification for securing a niche on the walls being a pretty face, the collection included the Princess Alexandra of Bavaria (daughter of the King of Greece), the Archduchess Sophie of Austria, and the Baroness de Krüdener (catalogued as the "spiritual sister" of the Czar Alexander I), a popular actress, Charlotte Hagen, a ballet-dancer, Antoinette Wallinger, and the daughters of the Court butcher and the municipal town-crier. To these were added a quartet of Englishwomen, in Lady Milbanke (the wife of the British Minister), Lady Ellenborough, Lady Jane Erskine, and Lady Teresa Spence. It was to this gallery that Ludwig was accustomed to retire for a couple of hours every evening, to "meditate" on the charms of its occupants. Being, however, possessed of generous instincts, and always ready (within limits) to share his good things, the public were admitted on Sunday afternoons.
But Ludwig could scratch, as well as purr. On one occasion he chanced to meet a lady who had figured among the occupants of the Schönheiten. She was considerably past the first flush of youth, and Ludwig, exercising his prerogative, affected not to remember her.
"But, Sire," she protested, "I used to be in your gallery."
"That, madame," was the response, "must have been a very long time ago. You would certainly not be there now."
II
From her modest hotel, where, soon tiring of his society, she left Auguste Papon to stay by himself, Lola took up fresh quarters in a small villa which the King had placed at her disposal in the Theresienstrasse, a boulevard conveniently near the Hofgarten and the Palace. While comfortable enough, it was held to be merely a temporary arrangement. There was not enough room in it for Lola to expand her wings. She wanted to establish a salon and to give receptions. Accordingly, she demanded something more suitable. It meant spending money, and Ludwig had already, he reflected, spent a great deal on her whims and fancies. Still, under pressure, he came round, and, agreeing that there must be a fitting nest for his love-bird (with a perch in it for himself), he summoned his architect, Metzger, and instructed him to build one in the more fashionable Barerstrasse.
"No expense is to be spared," he said.
None was spared.
The new dwelling, which adjoined the Karolinen Platz, was really a bijou palace, modelled on the Italian style. Everything in it was of the best, for Ludwig had cash and Lola had taste. Thus, her toilet-set was of silver ware; her china and glass came from Dresden: the rooms were filled with costly nicknacks; mirrors and cabinets and vases and bronzes; richly-bound books on the shelves; and valuable tapestries and pictures on the walls. French elegance, added to Munich art, with a touch of solid English comfort in the shape of easy chairs and couches.