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unflattering and public argument with the King.
Walking through the oversized double doors of the archway was like walking into a wall of sound. The combination of the music from the musicians' galleries above the raised dais and the babble of conversation echoed off the high sculpted contours of the ceiling and shivered the rock-crystal chandeliers. The room was so immense that what Thomas knew to be a large crowd appeared sparse. Visiting nobles, courtiers, ministers, and wealthy merchants invited out of courtesy or political necessity milled in large groups around the bases of the marble-sheathed columns, the orange trees potted in silver tubs, or the fountains running with wine.
Thomas made his way through the crowds toward the dais, occasionally greeting an acquaintance. In the center of the room, the play had just started on a raised plank stage with wooden classical columns and a painted backdrop of an Aderassi marketplace. A gaudily dressed Pantalone with a pointed beard and a mask with a long hooked nose was in loud mock argument with a grotesque Pulchinella with a humped back, protruding stomach, and a high peaked cap. Some of the crowd were even paying attention to it.
Cisternan guards were stationed at all the entrances to the gallery, though they were armed only with swords. The Queen's Guard and the Albonate Knights were permitted to carry firearms in the royal presence at court, but no one else.
The polished-stone dais supported the three chairs of state for Ravenna, Falaise, and Roland. Roland was surrounded by his servants and a few courtiers who had been called up to speak to him. An Albon knight stood guard at his back. Next to him Falaise's chair was empty.
Ravenna was firmly established on the opposite side of the dais from her son. Four guards were gathered near her and a lady-in-waiting sat on a stool at her side.
Thomas swept off his hat and bowed to Roland who was hidden behind his wall of servants and hangers-on, to Falaise's empty chair as a ma