The Count of Monte Cristo by Alexandre Dumas (have you read this book TXT) 📕

situated at the corner of a large court, and directly opposite another building, in which were the servants’ apartments. Two windows only of the pavilion faced the street; three other windows looked into the court, and two at the back into the garden.

Between the court and the garden, built in the heavy style of the imperial architecture, was the large and fashionable dwelling of the Count and Countess of Morcerf.

A high wall surrounded the whole of the property, surmounted at intervals by vases filled with flowers, and broken in the centre by a large gate of gilded iron, which served as the carriage entrance. A small door, close to the lodge of the concierge, gave ingress and egress to the servants and masters when they were on foot.

It was easy to discover that the delicate care of a mother, unwilling to part from her son, and yet aware that a young man of the viscount’s age required the full exercise of his liberty, had chosen this habitation for Albert. There were not lacking, however, evidences of what we may call the intelligent egoism of a youth who is charmed with the indolent, careless life of an only son, and who lives as it were in a gilded cage. By means of the two windows looking into the street, Albert could see all that passed; the sight of what is going on is necessary to young men, who always want to see the world traverse their horizon, even if that horizon is only a public thoroughfare. Then, should anything appear to merit a more minute examination, Albert de Morcerf could follow up his researches by means of a small gate, similar to that close to the concierge’s door, and which merits a particular description.

It was a little entrance that seemed never to have been opened since the house was built, so entirely was it covered with dust and dirt; but the well-oiled hinges and locks told quite another story. This door was a mockery to the concierge, from whose vigilance and jurisdiction it was free, and, like that famous portal in the Arabian Nights, opening at the “Sesame” of Ali Baba, it was wont to swing backward at a cabalistic word or a concerted tap from without from the sweetest voices or whitest fingers in the world.

At the end of a long corridor, with which the door communicated, and which formed the antechamber, was, on the right, Albert’s breakfast-room, looking into the court, and on the left the salon, looking into the garden. Shrubs and creeping plants covered the windows, and hid from the garden and court these two apartments, the only rooms into which, as they were on the ground floor, the prying eyes of the curious could penetrate.

On the floor above were similar rooms, with the addition of a third, formed out of the antechamber; these three rooms were a salon, a boudoir, and a bedroom. The salon downstairs was only an Algerian divan, for the use of smokers. The boudoir upstairs communicated with the bedchamber by an invisible door on the staircase; it was evident that every precaution had been taken. Above this floor was a large atelier, which had been increased in size by pulling down the partitions—a pandemonium, in which the artist and the dandy strove for pre-eminence.

There were collected and piled up all Albert’s successive caprices, hunting-horns, bass-viols, flutes—a whole orchestra, for Albert had had not a taste but a fancy for music; easels, palettes, brushes, pencils—for music had been succeeded by painting; foils, boxing-gloves, broadswords, and single-sticks—for, following the example of the fashionable young men of the time, Albert de Morcerf cultivated, with far more perseverance than music and drawing, the three arts that complete a dandy’s education, i.e., fencing, boxing, and single-stick; and it was here that he received Grisier, Cooks, and Charles Leboucher.

The rest of the furniture of this privileged apartment consisted of old cabinets, filled with Chinese porcelain and Japanese vases, Lucca della Robbia faïences, and Palissy platters; of old armchairs, in which perhaps had sat Henry IV. or Sully, Louis XIII. or Richelieu—for two of these armchairs, adorned with a carved shield, on which were engraved the fleur-de-lis of France on an azure field, evidently came from the Louvre, or, at least, some royal residence.

Over these dark and sombre chairs were thrown splendid stuffs, dyed beneath Persia’s sun, or woven by the fingers of the women of Calcutta or of Chandernagor. What these stuffs did there, it was impossible to say; they awaited, while gratifying the eyes, a destination unknown to their owner himself; in the meantime they filled the place with their golden and silky reflections.

In the centre of the room was a Roller and Blanchet “baby grand” piano in rosewood, but holding the potentialities of an orchestra in its narrow and sonorous cavity, and groaning beneath the weight of the chefs-d’œuvre of Beethoven, Weber, Mozart, Haydn, Grétry, and Porpora.

On the walls, over the doors, on the ceiling, were swords, daggers, Malay creeses, maces, battle-axes; gilded, damasked, and inlaid suits of armor; dried plants, minerals, and stuffed birds, their flame-colored wings outspread in motionless flight, and their beaks forever open. This was Albert’s favorite lounging place.

However, the morning of the appointment, the young man had established himself in the small salon downstairs. There, on a table, surrounded at some distance by a large and luxurious divan, every species of tobacco known,—from the yellow tobacco of Petersburg to the black of Sinai, and so on along the scale from Maryland and Porto Rico, to Latakia,—was exposed in pots of crackled earthenware of which the Dutch are so fond; beside them, in boxes of fragrant wood, were ranged, according to their size and quality, puros, regalias, havanas, and manillas; and, in an open cabinet, a collection of German pipes, of chibouques, with their amber mouth-pieces ornamented with coral, and of narghiles, with their long tubes of morocco, awaiting the caprice or the sympathy of the smokers.

Albert had himself presided at the arrangement, or, rather, the symmetrical derangement, which, after coffee, the guests at a breakfast of modern days love to contemplate through the vapor that escapes from their mouths, and ascends in long and fanciful wreaths to the ceiling.

At a quarter to ten, a valet entered; he composed, with a little groom named John, and who only spoke English, all Albert’s establishment, although the cook of the hotel was always at his service, and on great occasions the count’s chasseur also. This valet, whose name was Germain, and who enjoyed the entire confidence of his young master, held in one hand a number of papers, and in the other a packet of letters, which he gave to Albert. Albert glanced carelessly at the different missives, selected two written in a small and delicate hand, and enclosed in scented envelopes, opened them and perused their contents with some attention.

“How did these letters come?” said he.

“One by the post, Madame Danglars’ footman left the other.”

“Let Madame Danglars know that I accept the place she offers me in her box. Wait; then, during the day, tell Rosa that when I leave the Opera I will sup with her as she wishes. Take her six bottles of different wine—Cyprus, sherry, and Malaga, and a barrel of Ostend oysters; get them at Borel’s, and be sure you say they are for me.”

“At what o’clock, sir, do you breakfast?”