“It’s a wonderful drawing,” said the Count. “But I must say, your sense of space is particularly exquisite.”
The stranger smiled a little wistfully.
“That’s because I’m an architect by training, not an artist.”
“Are you designing a hotel?”
The architect gave a laugh.
“The way things stand, I’d be happy to design a birdhouse.”
Given the Count’s expression of curiosity, the young man elaborated: “For the time being, there are a lot of buildings being built in Moscow, but little need for architects. So I have taken a job with Intourist. They’re putting together a brochure of the city’s finer hotels and I’m drawing the interiors.”*
“Ah,” said the Count. “Because a photograph cannot capture the feeling of a place!”
“Actually,” replied the architect, “because a photograph too readily captures the condition of a place.”
“Oh, I see,” said the Count, feeling a little insulted on the Piazza’s behalf. In its defense, he couldn’t help pointing out that while the restaurant had been celebrated for its elegance in its time, the room’s grandeur had never been defined by its furnishings or architectural details.
“By what then?” the young man asked.
“The citizenry.”
“How do you mean?”
The Count turned his chair so that he could better face his neighbor.
“In my day, I had the luxury of doing a good bit of travel. And I can tell you from personal experience that the majority of hotel restaurants—not simply in Russia, you understand, but across Europe—were designed for and have served the guests of the hotel. But this restaurant wasn’t and hasn’t. It was designed to be and has been a gathering place for the entire city of Moscow.”
The Count gestured toward the center of the room.
“For most of the last forty years, on a typical Saturday night you could find Russians cut from every cloth crowded around that fountain, stumbling into conversations with whosoever happened to be at the neighboring table. Naturally, this has led to impromptu romances and heartfelt debates on the merits of Pushkin over Petrarch. Why, I’ve watched cabbies rub elbows with commisars and bishops with black marketeers; and on at least one occasion, I have actually seen a young lady change an old man’s point of view.”
The Count pointed to a spot about twenty feet away.
“You see those two tables there? One afternoon in 1939 I watched as two strangers, finding each other vaguely familiar, spent their appetizer, entrée, and dessert going over their entire lives step by step in search of the moment when they must have met.”
Looking around the restaurant with renewed appreciation, the architect observed:
“I suppose a room is the summation of all that has happened inside it.”
“Yes, I think it is,” agreed the Count. “And though I’m not exactly sure what has come of all the intermingling in this particular room, I am fairly certain that the world has been a better place because of it.”
The Count was quiet for a moment as he too looked around. Then pointing a finger, he directed the architect’s attention to the bandstand on the far side of the room.
“Have you ever happened to see the orchestra play here in the evening?”
“No, I haven’t. Why?”
“The most extraordinary thing happened to me today. . . .”
“Apparently, he was walking down the hallway when he happened to hear a Mozart Variation emanating from the ballroom. Intrigued, he poked his head inside and discovered Sofia at the keyboard.”
“No!” exclaimed Richard Vanderwhile.
“Naturally, the fellow asked where she was studying. He was taken aback to learn that she hadn’t been studying with anyone. She had taught herself to play the piece by listening to one of the recordings you had given me and then sounding out the notes one by one.”
“Incredible.”
“The fellow was so impressed with her natural abilities that he took her on as a student right then and there; and he has been teaching her the classical repertoire in the ballroom ever since.”
“And this is the chap from the Piazza, you say?”
“None other.”
“The one who waves the baton?”
“The very same.”
Richard shook his head in wonder. “Audrius, have you heard all of this? We’ve got to raise a glass to the young lady, and as soon as possible. Two Goldenrods, my good man.”
The ever-attentive tender at bar was already lining up bottles of various sizes including yellow chartreuse, bitters, honey, and a vodka infused with lemon. On that night in 1946 when the Count and Richard had first become acquainted over Audrius’s magenta concoction, the American had challenged the bartender to design a cocktail in each of the colors of St. Basil’s Cathedral. Thus were born the Goldenrod, the Robin’s Egg, the Brick Wall, and a dark green potion called the Christmas Tree. In addition, it had become generally known in the bar that anyone who could drink all four cocktails back to back earned the right to be called “The Patriarch of All Russia”—as soon as he regained consciousness.
Though Richard, who was now attached to the State Department, tended to stay at the embassy when in Moscow, he would still stop by the Metropol on occasion in order to have a nightcap with the Count. Thus, the Goldenrods were poured and the two gentlemen clinked their glasses with the toast: “To old friends.”
Some might wonder that the two men should consider themselves to be old friends having only known each other for four years; but the tenure of friendships has never been governed by the passage of time. These two would have felt like old friends had they met just hours before. To some degree, this was because they were kindred spirits—finding ample evidence of common ground and cause for laughter in the midst of effortless conversation; but it was also almost certainly a matter of upbringing. Raised in grand homes in cosmopolitan cities, educated in the liberal arts, graced with idle hours, and exposed to the finest things, though the Count and the American had been born ten years and four thousand miles apart, they had more in common with each other than they had with the majority of their own countrymen.
This, of course, is why the grand hotels of the world’s capitals all look alike. The Plaza in New York, the Ritz in Paris, Claridge’s in London, the Metropol in Moscow—built within fifteen years of each other, they too were kindred spirits, the first hotels in their cities with central heating, with hot water and telephones in the rooms, with international newspapers in the lobbies, international cuisine in the restaurants, and American bars off the lobby. These hotels were built for the likes of Richard Vanderwhile and Alexander Rostov, so that when they traveled to a foreign city, they would find themselves very much at home and in the company of kin.
“I still can’t believe it’s that fellow from the Piazza,” said Richard with another shake of the head.
“I know,” said the Count. “But he actually studied at the Conservatory here in Moscow where he was the recipient of the Mussorgsky Medal. He only conducts at the Piazza in order to make ends meet.”
“One must make ends meet,” confirmed Audrius matter-of-factly, “or meet one’s end.”
Richard studied the bartender for a moment.
“Well, that’s the very essence of it, isn’t it?”
Audrius shrugged, acknowledging that the essence-of-it was a bartender’s stock-in-trade, and then he excused himself to answer the phone behind the bar. As he walked away, the Count seemed particularly struck by the bartender’s remark.
“Are you familiar with the moths of Manchester?” he asked Richard.
“The moths of Manchester . . . Isn’t that a soccer team?”
“No,” said the Count with a smile. “It is not a soccer team. It is an extraordinary case from the annals of the natural sciences that my father related to me as a child.”
But before the Count could elaborate, Audrius returned.