The City of Masks

by George Barr McCutcheon

More often than otherwise she failed to hear all that Julia said to her, or in her presence rather, for Julia, wise in association, had come to consider these lapses of inattention as openings for prolonged and rarely coherent soliloquies on topics of the moment. Julia, by virtue of long service and a most satisfying avoidance of matrimony, was a privileged servant between the hours of eight in the morning and eight in the evening. After eight, or more strictly speaking, the moment dinner was announced, Julia became a perfect servant. She would no more have thought of addressing the Marchioness as "ma'am" than she would have called the King of England "mister." She had crossed the Atlantic with her mistress eighteen years before; in mid-ocean she celebrated her thirty-fifth birthday, and, as she had been in the family for ten years prior to that event, even a child may solve the problem that here presents a momentary and totally unnecessary break in the continuity of this narrative. Julia was English. She spoke no other language. Beginning with the soup, or the hors d'œuvres on occasion, French was spoken in the house of the Marchioness. Physically unable to speak French and psychologically unwilling to betray her ignorance, Julia became a model servant. She lapsed into perfect silence.

The Marchioness seldom if ever dined alone. She always dined in state. Her guests,—English, Italian, Russian, Belgian, French, Spanish, Hungarian, Austrian, German,—conversed solely in French. It was a very agreeable way of symphonizing Babel.

The room in which she and the temporarily imperfect though treasured servant were employed in the dusk of this stormy day in March was at the top of an old-fashioned building in the busiest section of the city, a building that had, so far, escaped the fate of its immediate neighbours and remained, a squat and insignificant pygmy, elbowing with some arrogance the lofty structures that had shot up on either side of it with incredible swiftness.

It was a large room, at least thirty by fifty feet in dimensions, with a vaulted ceiling that encroached upon the space ordinarily devoted to what architects, builders and the Board of Health describe as an air chamber, next below the roof. There was no elevator in the building. One had to climb four flights of stairs to reach the apartment.

From its long, heavily curtained windows one looked down upon a crowded cross-town thoroughfare, or up to the summit of a stupendous hotel on the opposite side of the street. There was a small foyer at the rear of this lofty room, with an entrance from the narrow hall outside. Suspended in the wide doorway between the two rooms was a pair of blue velvet Italian portières of great antiquity and, to a connoisseur, unrivaled quality. Beyond the foyer and extending to the area wall was the rather commodious dining-room, with its long oaken English table, its high-back chairs, its massive sideboard and the chandelier that is said to have hung in the Doges' Palace when the Bridge of Sighs was a new and thriving avenue of communication.

At least, so stated the dealer's tag tucked carelessly among the crystal prisms, supplying the observer with the information that, in case one was in need of a chandelier, its price was five hundred guineas. The same curious-minded observer would have discovered, if he were not above getting down on his hands and knees and peering under the table, a price tag; and by exerting the strength necessary to pull the sideboard away from the wall, a similar object would have been exposed.

In other words, if one really wanted to purchase any article of furniture or decoration in the singularly impressive apartment of the Marchioness, all one had to do was to signify the desire, produce a check or its equivalent, and give an address to the competent-looking young woman who would put in an appearance with singular promptness in response to a couple of punches at an electric button just outside the door, any time between nine and five o'clock, Sundays included.

The drawing-room contained many priceless articles of furniture, wholly antique—(and so guaranteed), besides rugs, draperies, tapestries and stuffs of the rarest quality. Bronzes, porcelains, pottery, things of jade and alabaster, sconces, candlesticks and censers, with here and there on the walls lovely little "primitives" of untold value. The most exotic taste had ordered the distribution and arrangement of all these objects. There was no suggestion of crowding, nothing haphazard or bizarre in the exposition of treasure, nothing to indicate that a cheap intelligence revelled in rich possessions.

You would have sat down upon the first chair that offered repose and you would have said you had wandered inadvertently into a palace. Then, emboldened by an interest that scorned politeness, you would have got up to inspect the riches at close range,—and you would have found price-marks everywhere to overcome the impression that Aladdin had been rubbing his lamp all the way up the dingy, tortuous stairs.

You are not, however, in the shop of a dealer in antiques, price-marks to the contrary. You are in the home of a Marchioness, and she is not a dealer in old furniture, you may be quite sure of that. She does not owe a penny on a single article in the apartment nor does she, on the other hand, own a penny's worth of anything that meets the eye,—unless, of course, one excepts the dust-cloth and the can of polish that follows Julia about the room. Nor is it a loan exhibit, nor the setting for a bazaar.