WELL-READ AND-TRAVELED GENTLEMAN that he was, Bonaventure Rossignol had learned that in the world there were countries—and even in this country, there were religious communities and social classes—where men did not always go about carrying long sharp stabbing-and slashing-weapons ready to be whipped out and driven into other men’s flesh at a moment’s notice. This was a thing that he knew and understood in theory but could not entirely comprehend. Take for example the present circumstance: two men, strange to each other, in the same house as Eliza, neither of them knowing where the other was, or what his intentions might be. It was a wildly unstable state of affairs. Some would argue that to add edged weapons to this mix was to render it more volatile yet, and hence a bad idea; but to Rossignol it seemed altogether fitting, and an apt way to bring into the light a conflict that, in other countries or classes, would be suffered to fester in the dark. Rossignol had been—this could not be denied—sneaking around the house, trying not to be detected by d’Avaux. A winding and backtracking course had led him to a gloomy hallway, bypassed by the redecoration project, paneled in slabs of wood that had not yet been painted to make them look like marble, and cluttered with the d’Ozoirs’ portraits and keepsakes—some mounted on the walls, most leaning against whatever would hold them up. For if it was a sign of high class and elevated tastes to adorn the walls of one’s dwelling with paintings, then how infinitely more sophisticated to lean great stacks of homeless art against walls, and stash them behind chairs! Reaching this gallery, anyway, he smelled eau de cologne, and placed his left hand on the scabbard of his rapier (a style of weapon that had gone out of fashion, but it was the one his father, Antoine Rossignol, the King’s cryptanalyst before him, had taught him how to use, and he would be damned if he would make a fool of himself trying to learn how to fence with a small-sword) and thumbed it out an inch or two, just to be sure it would not turn out to be stuck when the time came. At the same time he lengthened his pace to a confident stride. For to skulk about would be to admit some kind of bad intentions and invite preemptive retribution. As he pounded along the gallery he took note of chairs, busts on pedestals, stacks of paintings, carpet-humps, and other impedimenta, so that he would not trip over them when and if some sort of melee were to break out. Ahead of him, on the left, another, similar gallery intersected this one; the man with the cologne was back in there. Rossignol slowed, turning to the left, and edged around the corner just until the other became visible. Because of this slow crab-wise movement, Rossignol’s right arm and shoulder led the remainder of his body around the corner, which wrought to his advantage in that he could whip out the rapier and lunge around the corner at any foe, while his body would be shielded from any right-handed counter-attack. But alas, the other fellow had foreseen all of this, and re-deployed himself by crossing to the opposite side of the side-corridor and turning his back upon Rossignol so that he could pretend to study a landscape mounted to the wall there; thus, the corner was entirely out of his way, and his right shoulder was situated closest to Rossignol. A slight turn of the head sufficed to bring Rossignol into his peripheral vision. He had crossed his right arm diagonally over the front of his body and then clasped his left hand over the elbow to hold it in that position; this would place his right hand very near, if not on, the grip of the cutlass that was dangling from his hip. The pose was forced and artificial, but well-thought-out; in a moment he could draw, turn, and deliver a backhanded slash through the middle of the gallery-intersection. It was, therefore, a standoff.