And then she took his arm again. The house was a large, very old building of yellowish stone, worm-eaten by age, with two little square towers at the sides. Everything about it was shabby or worn out. Some bars were wanting in the stair-rails as well as in the balconies; the ceilings of the rooms were discoloured, the partition walls cracked, the plaster in holes; the looking-glasses, so much thought of in bygone days, were so covered with dust that they reflected nothing; the walls were damp and dirty, and the pictures hung thereon were so discoloured that one could not see what the artists had intended to depict; the scanty furniture of the rooms was worn out by the use of past generations. The things were all quite done for. Amalia liked the look of past grandeur. How many different beings had lived in that house! How they must have laughed and wept in these large rooms. Each one had its particular name: one was called the cardinal's room, because in times past a cardinal of the family occupied it when on a visit to the Grange; another the portrait-room, because a few pictures hung on the walls; and another the new room, although it looked as old and even older than the rest of the apartments. Everything bore traces of the private life of a family of bygone ages.
"This is the countess's chamber," said Luis, as he took his friend into a moderate-sized room, which, in spite of the dust and ravages of time, looked better furnished than the others. It was an elegant style of apartment, bearing evidence that past generations had not been destitute of a love of decoration. There was a Pompadour escritoire, some chairs of the Regency, several pictures in pastel; and painted on the ceiling were cherubs floating in an atmosphere which had once been blue.
"Is this your mother's room?" asked Amalia.
"No," replied the count, smiling; "my mother sleeps on the other side. It has been called the countess's from time immemorial. Perhaps some old ancestor of mine chose it for herself. I often take my siesta here when the fatigue of going about the estate makes me want to have a sleep."
In one of the corners of the apartment there was a splendid bedstead of carved oak, grown black with age, one of those beds of the fifteenth century that antiquaries go perfectly mad on. The hangings were also very ancient, but there was a modern damask counterpane spread over the mattress.
"So it is here that you retire to think of me to your heart's content, is it not?" said Amalia.
The count looked as stunned as if she had given him a blow on the head.
"I! Amalia! How?"
Then with a sudden assumption of courage he exclaimed:
"Yes, yes, Amalia, you are quite right! I think of you here as, for some time past, I think of you everywhere I go. I do not know what has come to me: I live in a constant state of excitement, which, as you told me, is a sign of true love. I am in fact madly in love with you. I know that it is an atrocity, a crime, but I cannot help myself. Forgive me."