accuracy of their clocks), but for the elaborate means by which their clocks could signal the passage of time. They had clocks that played a few measures of Mozart at the end of the hour. They had clocks that chimed not only at the hour but at the half and the quarter. They had clocks that displayed the phases of the moon, the progress of the seasons, and the cycle of the tides. But when the Count’s father visited their shop in 1882, he posed a very different sort of challenge for the firm: a clock that tolled only twice a day.
“Why would he do so?” asked the Count (in anticipation of his young listener’s favorite interrogative).
Quite simply, the Count’s father had believed that while a man should attend closely to life, he should not attend too closely to the clock. A student of both the Stoics and Montaigne, the Count’s father believed that our Creator had set aside the morning hours for industry. That is, if a man woke no later than six, engaged in a light repast, and then applied himself without interruption, by the hour of noon he should have accomplished a full day’s labor.
Thus, in his father’s view, the toll of twelve was a moment of reckoning. When the noon bell sounded, the diligent man could take pride in having made good use of the morning and sit down to his lunch with a clear conscience. But when it sounded for the frivolous man—the man who had squandered his morning in bed, or on breakfast with three papers, or on idle chatter in the sitting room—he had no choice but to ask for his Lord’s forgiveness.
In the afternoon, the Count’s father believed that a man should take care not to live by the watch in his waistcoat—marking the minutes as if the events of one’s life were stations on a railway line. Rather, having been suitably industrious before lunch, he should spend his afternoon in wise liberty. That is, he should walk among the willows, read a timeless text, converse with a friend beneath the pergola, or reflect before the fire—engaging in those endeavors that have no appointed hour, and that dictate their own beginnings and ends.
And the second chime?
The Count’s father was of the mind that one should never hear it. If one had lived one’s day well—in the service of industry, liberty, and the Lord—one should be soundly asleep long before twelve. So the second chime of the twice-tolling clock was most definitely a remonstrance. What are you doing up? it was meant to say. Were you so profligate with your daylight that you must hunt about for things to do in the dark?
“Your veal.”
“Ah. Thank you, Martyn.”
Quite appropriately, Martyn placed the first dish before Sofia and the second before the Count. Then he lingered a little closer to the table than was necessary.
“Thank you,” the Count said again in a polite sign of dismissal. But as the Count took up his silverware and began recalling for Sofia’s benefit how he and his sister would sit by the twice-tolling clock on the last night of December in order to ring in the New Year, Martyn took a step even closer.
“Yes?” asked the Count, somewhat impatiently.
Martyn hesitated.
“Shall I . . . cut the young lady’s meat?”
The Count looked across the table to where Sofia, fork in hand, was staring at her plate.
Mon Dieu, thought the Count.
“No need, my friend. I shall see to it.”
As Martyn backed away with a bow, the Count circled the table and in a few quick strokes had cut Sofia’s veal into eight pieces. Then, on the verge of setting down her cutlery, he cut the eight pieces into sixteen. By the time he had returned to his seat, she had already eaten four.
Having regained her energy through sustenance, Sofia now unleashed a cavalcade of Whys. Why was it better to commune with work in the morning and nature in the afternoon? Why would a man read three newspapers? Why should one walk under the willows rather than some other sort of tree? And what was a pergola? Which in turn led to additional inquiries regarding Idlehour, the Countess, and Helena.
In principle, the Count generally regarded a barrage of interrogatives as bad form. Left to themselves, the words who, what, why, when, and where do not a conversation make. But as the Count began to answer Sofia’s litany of queries, sketching the layout of Idlehour on the tablecloth with the tines