What was the difference between an exile and a traveler?
Pomona of the twentieth century would never have pondered that question. What she saw more often were advertisements and photographs in travel magazines, every journey seeming vibrant and full of color.
Georgiana flipped through the designs by Percier and Fontaine. The furniture and décor did indeed look "dainty," brimming with French refinement and elegance.
It was not that she disliked them. It was simply that, after looking for quite a while, she found nothing satisfactory. She only symbolically chose a small blue sitting room, which was well suited for a large round table.
"How about this one?" Fontaine said, taking another design portfolio from his briefcase.
Georgiana accepted it and found that it mainly used earth tones. It reminded her of the so-called "Imperial style"—the style that emerged after Napoleon became emperor. It incorporated Egyptian elements, and Fontaine and Percier had been introduced to the Bonapartes by David after Napoleon returned from Egypt.
Georgiana had never been to Malmaison, but she had heard it was very good. Everyone who had visited spoke highly of it.
She did not like imperialism, but the study with its natural wood paneling did look rather nice.
"This one, then?" Fontaine asked cautiously.
"This one." She handed the designs back to Fontaine.
"You have not finished looking. Please continue," Fontaine said gently. "I hear you are very fond of the sculptures at the Vatican?"
Georgiana did not answer. She was afraid of turning into a white egret feather again.
But when she turned to the back, she found a group of sketches, apparently drawn in some museum.
"This is Hercules—the Heracles I saw when I visited the Vatican." Fontaine pointed to a sculpture of a young man who seemed to be throwing something. "What do