If matters were sad around the poor young woman, that face, notwithstanding the tranquillity of sleep, seemed sadder still. The light from the lamp, flickering in the draught, scarcely reached beyond the foot of the bed and illumined the count’s head capriciously; so that the fitful movements of its flash upon those features in repose produced the effect of a struggle with angry thought. The countess was scarcely reassured by perceiving the cause of that phenomenon. Each time that a gust of wind projected the light upon the count’s large face, casting shadows among its bony outlines, she fancied that her husband was about to fix upon her his two insupportably stern eyes. Implacable as the war then going on between the Church and Calvinism, the count’s forehead was threatening even while he slept. Many furrows, produced by the emotions of a warrior life, gave it a vague resemblance to the vermiculated stone which we see in the buildings of that period; his hair, like the whitish lichen of old oaks, gray before its time, surrounded without grace a cruel brow, where religious intolerance showed its passionate brutality. The shape of the aquiline nose, which resembled the beak of a bird of prey, the black and crinkled lids of the yellow eyes, the prominent bones of a hollow face, the rigidity of the wrinkles, the disdain expressed in the lower lip, were all expressive of ambition, despotism, and power, the more to be feared because the narrowness of the skull betrayed an almost total absence of intelligence, and a mere brute courage devoid of generosity. The face was horribly disfigured by a large transversal scar which had the appearance of a second mouth on the right cheek.