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 bedchamber 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