Followed by the count, the baron led the way through a long succession of apartments characterized by tedious ostentation and expensive bad taste, until they reached Mme Danglars' boudoir, a small octagonal room hung with red satin and trimmed with Indian muslin. The chairs were in antique gilded wood and covered in old fabrics. Above the doors were paintings of shepherds and shepherdesses in the style of Boucher. Two pretty pastels, in oval frames, complementing the rest of the décor, made this little room the only one in the house with some individuality. Admittedly, it had been overlooked in the general design agreed between M. Danglars and his architect, one of the most famous and eminent members of his profession under the empire, so only the baroness and Lucien Debray were involved in doing it up. Danglars, a great admirer of Antiquity -- as interpreted by the Directoire -- consequently had nothing but contempt for this charming little cubbyhole to which, in any case, he was usually admitted only on condition that he brought someone with him to excuse his presence. So in reality it was not Danglars who introduced visitors, but he himself who was introduced, to be received well or ill, depending on how much the visitor's face pleased or displeased the baroness.

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