On the second Naréal, at Rue Baguechotte, No. 3, where Viscount Réginard had promised the Count of Monte Fato a rendezvous, everything was in preparation for such a festivity, and such a guest, as had not been seen in the Shiré since the days of Bilbon and the seven dwarf-dandys. The abode of the Count and Countess de Pérégrin was a large brick building in the bad if fachonnâble taste of Sharcoléon, albeit with one or two concessions to Aragonnist taste, such as the Aragon Telbourbon coat-of-arms over the main entrance. The Viscount had his own quarters, complete with a secret passage that served him in his amorous encounters with his friends' wives, a banquet-hall, a bedroom, a smoking room furnished with divans made in Rivendeau, a trophy-room largely adorned with the heads of boars, and a chambre de mathons containing bric-à-brac from all over Terre-moyenne. Réginard's spoon collection was particularly esteemed; no less a judge than the Baroness Sacqueville-Danglars qualified it as nonpareil. There was also a charming little collection of faïence from Mont-Érébeur, and a gallery of genuine Folques-Bouffon nudes. Although Réginard's musical talent was not of the most stellar, he had placed his piano – a Barbarbre of the ent-carver's early bad manner, in a size befitting our hobbite salons – in a prominent locale, between the smoking room and the nudes. The instrument groaned under the masterpieces of Ludwig van Balinthorin, Durin Moria von Weber, Wolfgang Amadeus Mozarbul, and Hydn Grétry-Birde Porpora Romendaquiles.
