The Count of Monte Cristo + The Three Musketeers + The Man in the Iron Mask (3 Unabridged Classics). Alexandre DumasЧитать онлайн книгу.

      Chapter 39 The Guests.

      Table of Contents

      In the house in the Rue du Helder, where Albert had invited the Count of Monte Cristo, everything was being prepared on the morning of the 21st of May to do honor to the occasion. Albert de Morcerf inhabited a pavilion 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 hotel, 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 bed-chamber 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 preeminence. 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, Cook, 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 faience, 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’oeuvre of Beethoven, Weber, Mozart, Haydn, Gretry, 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