Everything was the same, but of a darker hue, as though he were looking at the landscape through smoked glasses. He noticed things which he had not observed until then. The large hotels had been converted into hospitals. Their porches and large balconies were filled with men basking in the sun; men whose heads were white balls, bound with bandages that left only the eyes and mouth visible; half finished men, as it were, lacking a leg or an arm, like a sculptor's rough models. Others were lying motionless, with both legs amputated, like corpses in a dissecting room, but still breathing.
On the sidewalks he met soldiers of various nations: French, English, Serbian, officers, and a few Russians, who reminded him of the former importance his country had had in the war. Every variety of uniform worn by the various armies of the French Republic passed before his eyes: the horizon blue of the home troops, the mustard color of the soldiers from Morocco, the yellow fatigue caps of the Foreign Legion, and the red fez of the Algerians and the negro Sharpshooters.
Each one was maimed. This sunny land, with its lovely views of sea and sky, seemed peopled with a race that had survived a cataclysm. Elegantly dressed officers, with handsome figures, limped along, cautiously dragging one leg, or else stepping gingerly on a foot so swathed in bandages that it was several times its natural size. Some of them were leaning on canes, bent over like old men. Men of athletic proportions trembled as they walked, as though their skeletons were rattling about in the hollow wrapper of their bodies wasted by consumption. Fingers were missing on hands; arms had been cut off until the shapeless stumps looked like fins. Under their pads of cotton, cheeks retained the gashes made by hand grenades, scars like those left by cancer; the horrible cavity of the nose, which had been torn away in some of the men, was hidden by a black tampon attached to the ears. The faces of others were covered by masks of bandages, leaving nothing visible save the eyes—sad eyes that seemed to look with fear to the day when they would have to grow accustomed to the horror of a face that a few months before had been youthful and now was like a vision in a nightmare. The bodies of some were intact, retaining their former strength and agility in all their limbs. Seen from behind they had kept all the vigor and suppleness of youth. But they walked abreast, holding tightly to one another's arms, their eyes lost in darkness, tapping the pavement with a stick which had taken the place of the vanished sword, and which would accompany them until the hour of their death.
And this procession of sadness and resignation, this grievous masquerade comforted by the joyousness of the morning, and feeling love of life once more renewed, was coming from the gardens. Others were going in the direction of the Casino and its terraces, passing among the Brazilian palm trees, with smooth, hollow trunks covered with elephant hide; among the cacti, held up by iron supports like a tangle of green reptiles bristling with thorns; among the prickly pears as high as trees; among the Himalayan fig trees, with towering trunks and wide spreading domes of branches which seemed to have been made to shelter the motionless meditation of the fakirs; among all the trees that come from tropical and temperate America, from China, Australia, Abyssinia, and South Africa. A tiny rivulet descended the slope in zig-zags through the openings in the green lawn, forming back waters among the bamboos and Japanese palms, until it flowed into a miniature lake, bordered with foliage, as tranquil, pleasing, and dainty as one of those centerpieces in which the water is represented by a mirror.
Michael stopped in the upper gardens to look at the Casino from a distance. He had never realized before the fussiness and bad taste of the architecture of this building, which was the heart of Monaco. If the "gingerbread monument"—as Castro called it—closed its doors, all Monte Carlo would be wrapped in a deathly stillness like the loneliness of those cities which in former centuries were ports, and now are sleepy and deserted, far from the sea, which has withdrawn. It was the work of the architect of the Paris Opera House, an ornate, gaudy, childish structure, of the color of soft butter, with multi-colored roofs, balconied turrets, niches with nameless statues, many tile friezes and gilded mosaics. At the corners there were green porcelain escutcheons, imitating roughly cut emeralds. The outstanding decorative motif of this building, famous throughout the world, was the imitation of gold and precious stones.
Owing to the prosperity of the establishment, they had added to the main body flanked with four towers, an extensive wing in which the best gaming rooms were located. Various green and yellow cupolas of different sizes revealed the existence of the latter, rising above the upper balustrade. On this balustrade a number of bronze angels or genii, entirely nude and with golden wings, had been set up. With black extended arms they were offering golden tributes, the significance of which no one had been able to guess. Other white or metal statues of half nude women were sheltered in the niches in the walls, and the names and significance of these were likewise a mystery.
Although the edifice was erected with the pretense of dazzling and charming with its gold and soft colors, those who went there paid scarcely any attention to its splendors.
"The ones who are arriving," Castro would say, "go in on the run; they want to get placed at the gaming tables as soon as possible. The ones who are coming out take a gloomy view of everything; and even though the Casino were as beautiful as the Parthenon, they would take it for a robber's cave."
The Prince looked to the right of the building, where a strip of blue sea was visible, with the hairy trunks and rounded tops of a few Japanese palms standing out against the blue. There at the entrance to the terraces along the Mediterranean rose the only two monuments of the city, dedicated to the fame of two musicians from the simple fact that some of their works had been played for the first time in the theater of the Casino. Carved in marble, Berlioz and Massenet greeted with a vague stare in their sightless eyes the cosmopolitan crowd that came to the gambling house. "They are honorary croupiers," Castro used to say.
"Massenet—that isn't so bad," thought Michael. "He was fortunate, he had money, and his gifts were recognized during his lifetime. But imagine Berlioz, who spent his years struggling against poverty and public indifference, standing guard after death over the Casino's millions!"