This apartment takes its name from an ancestress of the host, as the latter explains to his guest. A feature of its decorations is the Gobelin tapestry, whereon the lovely Armida is depicted, surrounded by her court, and on this the young man gazes long, his curiosity and interest aroused. His host presently departs with polite wishes for a restful night, and the Vicomte composes himself to sleep. It is the witching hour of midnight. Hardly has the young man closed his eyes when the figure of Cupid, on the clock which marks the hour, begins to fight with Saturn. The latter, vanquished, disappears--the signal for the Hours to troop forth and make a mischievous escape. Time, therefore, is in suspense and nought can challenge Cupid’s sway. The great tapestry comes to life, the figures move and breathe, and the Vicomte, starting from his slumber--or is he still only in a dream?--finds himself in the midst of the fair Armida’s glittering court. All about him are fair women and brave men, splendidly attired. But despite the pomp and magnificence of the scene, its lovely mistress is distraught. Gallant knights attend her, but one who should be of the number is missing. Armida weeps, seemingly disconsolate, for the absent Rinaldo. The Vicomte, feasting his eyes upon her beauty, is smitten by her fatal enchantment. Forgetting all save the glamour of the moment, he presses forward and devotedly offers himself as candidate for the vacant place. Armida smiles upon him, grants the favour he desires, and leads him by the hand, a willing victim, to the dais whereon her aged sire is enthroned. It is this scene--the animated court of Armida--which is sometimes performed as an isolated excerpt. Armida is seen at first reclining on the dais, from which she descends to give expression to her mood of _ennui_. The appearance of the Vicomte puts her boredom to instant flight--at prospect of another victim she is quickly alert to exercise her age-old fascinations. The old seigneur, her pretended father, who is in reality none other than the wicked Marquis, joins the company, and the hapless Vicomte is led to a place upon the dais beside his enchantress. There enters a master of the ceremonies, with attendant heralds, and a fanfare of trumpets announces the beginning of the revels. These revels provide an opportunity for a series of dances which exhibit the resources of the Ballet in this purely formal aspect of their art. At the outset of the scene, before the entry of the master of ceremonies, there is a long _pas seul_ in which Karsavina displays something of that almost ceremonial grace which was the delight of amateurs of the dance of long generations ago. There comes, too, upon the scene Nijinsky, as Armida’s favourite slave--a _rôle_ intended to afford him opportunities for dancing rather than miming--while as confidants of Armida the leading ladies of the company appear.