To this palace of an October evening comes the tribe of Bines, and many another such, for a triumphal feast in the abode of Barbarian Silas Higbee. The carriages pass through a pair of lordly iron gates, swung from massive stone pillars, under an arch of wrought iron with its antique lamp, and into the echoing courtyard flanked by trim hedges of box.
Alighting, the barbaric guests of Higbee are ushered through a marble-walled vestibule, from which a wrought-iron and bronze screen gives way to the main entrance-hall. The ceiling here reproduces that of a feudal castle in Rouen, with some trifling and effective touches of decoration in blue, scarlet, and gold. The walls are of white Caen stone, with ornate windows and balconies jutting out above. In one corner is a stately stone mantel with richly carved hood, bearing in its central panel the escutcheon of the gallant French monarch. Up a little flight of marble steps, guarded by its hand-rail of heavy metal, shod with crimson velvet, one reaches the elevator. This pretty enclosure of iron and glass, of classic detail in the period of Henry II., of Circassian walnut trim, with crotch panels, has more the aspect of boudoir than elevator. The deep seat is of walnut, upholstered with fat cushions of crimson velvet edged in dull gold galloon. Over the seat is a mirror cut into small squares by wooden muntins. At each side are electric candles softened by red silk shades. One's last view before the door closes noiselessly is of a bay-window opposite, set with cathedral glass casement-lights, which sheds soft colours upon the hall-bench of carven stone and upon the tessellated floor.
The door to the Higbee domain is of polished mahogany, set between lights of antique verte Italian glass, and bearing an ancient brass knocker. From the reception-room, with its walls of green empire silk, one passes through a foyer hall, of Cordova leather hangings, to the drawing-room with its three broad windows. Opposite the entrance to this superb room is a mantel of carved Caen stone, faced with golden Pavanazza marble, with old Roman andirons of gold ending in the fleur-de-lis. The walls are hung with blue Florentine silk, embossed in silver. Beyond a bronze grill is the music-room, a library done in Austrian oak with stained burlap panelled by dull-forged nails, a conservatory, a billiard-room, a smoking-room. This latter has walls of red damask and a mantel with "Post Tenebras Lux" cut into one of its marble panels,—a legend at which the worthy lessee of all this splendour is wont often to glance with respectful interest.
The admirable host—if one be broad-minded—is now in the drawing-room, seconding his worthy wife and pretty daughter who welcome the dinner-guests.
For a man who has a fad for ham and doesn't care who knows it, his bearing is all we have a right to expect that it should be. Among the group of arrivals, men of his own sort, he is speaking of the ever-shifting fashion in beards, to the evangel of a Texas oil-field who flaunts to the world one of those heavy moustaches spuriously extended below the corners of the mouth by means of the chin-growth of hair. Another, a worthy tribesman from Snohomish, Washington, wears a beard which, for a score of years, has been let to be its own true self; to express, fearlessly, its own unique capacity for variation from type. These two have rallied their host upon his modishly trimmed side-whiskers.
"You're right," says Mr. Higbee, amiably, "I ain't stuck any myself on this way of trimming up a man's face, but the madam will have it this way—says it looks more refined and New Yorky. And now, do you know, ever since I've wore 'em this way—ever since I had 'em scraped from around under my neck here—I have to go to Florida every winter. Come January or February, I get bronchitis every blamed year!"
Two of the guests only are alien to the barbaric throng.
There is the noble Baron Ronault de Palliac, decorated, reserved, observant,—almost wistful. For the moment he is picturing dutifully the luxuries a certain marriage would enable him to procure for his noble father and his aged mother, who eagerly await the news of his quest for the golden fleece. For the baron contemplates, after the fashion of many conscientious explorers, a marriage with a native woman; though he permits himself to cherish the hope that it may not be conditioned upon his adopting the manners and customs of the particular tribe that he means to honour. Monsieur the Baron has long since been obliged to confess that a suitable mesalliance is none too easy of achievement, and, in testimony of his vicissitudes, he has written for a Paris comic paper a series of grimly satiric essays upon New York society. Recently, moreover, he has been upon the verge of accepting employment in the candy factory of a bourgeois compatriot. But hope has a little revived in the noble breast since chance brought him and his title under the scrutiny of the bewitching Miss Millicent Higbee and her appreciative mother.
And to-night there is not only the pretty Miss Higbee, but the winning Miss Bines, whose dot, the baron has been led to understand, would permit his beloved father unlimited piquet at his club, to say nothing of regenerating the family chateau. Yet these are hardly matters to be gossiped of. It is enough to know that the Baron Ronault de Palliac when he discovers himself at table between Miss Bines and the adorable Miss Higbee, becomes less saturnine than has for some time been his wont. He does not forget previous disappointments, but desperately snaps his swarthy jaws in commendable superiority to any adverse fate.
"Je ne donne pas un damn," he says to himself, and translates, as was his practice, to better his English—"I do not present a damn. I shall take what it is that it may be."