The Count of Monte Cristo by Alexandre Dumas (best book club books .TXT) 📕

honest citizen for your steward,” said Debray. “Of how much does he rob you every year?”

“On my word,” replied the count, “not more than another. I am sure he answers my purpose, knows no impossibility, and so I keep him.”

“Then,” continued Château-Renaud, “since you have an establishment, a steward, and a hotel in the Champs-Élysées, you only want a mistress.” Albert smiled. He thought of the fair Greek he had seen in the count’s box at the Argentina and Valle theatres.

“I have something better than that,” said Monte Cristo; “I have a slave. You procure your mistresses from the opera, the Vaudeville, or the Variétés; I purchased mine at Constantinople; it cost me more, but I have nothing to fear.”

“But you forget,” replied Debray, laughing, “that we are Franks by name and franks by nature, as King Charles said, and that the moment she puts her foot in France your slave becomes free.”

“Who will tell her?”

“The first person who sees her.”

“She only speaks Romaic.”

“That is different.”

“But at least we shall see her,” said Beauchamp, “or do you keep eunuchs as well as mutes?”

“Oh, no,” replied Monte Cristo; “I do not carry brutalism so far. Everyone who surrounds me is free to quit me, and when they leave me will no longer have any need of me or anyone else; it is for that reason, perhaps, that they do not quit me.”

They had long since passed to dessert and cigars.

“My dear Albert,” said Debray, rising, “it is half-past two. Your guest is charming, but you leave the best company to go into the worst sometimes. I must return to the minister’s. I will tell him of the count, and we shall soon know who he is.”

“Take care,” returned Albert; “no one has been able to accomplish that.”

“Oh, we have three millions for our police; it is true they are almost always spent beforehand, but, no matter, we shall still have fifty thousand francs to spend for this purpose.”

“And when you know, will you tell me?”

“I promise you. Au revoir, Albert. Gentlemen, good morning.”

As he left the room, Debray called out loudly, “My carriage.”

“Bravo,” said Beauchamp to Albert; “I shall not go to the Chamber, but I have something better to offer my readers than a speech of M. Danglars.”

“For heaven’s sake, Beauchamp,” returned Morcerf, “do not deprive me of the merit of introducing him everywhere. Is he not peculiar?”

“He is more than that,” replied Château-Renaud; “he is one of the most extraordinary men I ever saw in my life. Are you coming, Morrel?”

“Directly I have given my card to the count, who has promised to pay us a visit at Rue Meslay, No. 14.”

“Be sure I shall not fail to do so,” returned the count, bowing.

And Maximilian Morrel left the room with the Baron de Château-Renaud, leaving Monte Cristo alone with Morcerf.

XLI The Presentation

When Albert found himself alone with Monte Cristo, “My dear count,” said he, “allow me to commence my services as cicerone by showing you a specimen of a bachelor’s apartment. You, who are accustomed to the palaces of Italy, can amuse yourself by calculating in how many square feet a young man who is not the worst lodged in Paris can live. As we pass from one room to another, I will open the windows to let you breathe.”

Monte Cristo had already seen the breakfast-room and the salon on the ground floor. Albert led him first to his atelier, which was, as we have said, his favorite apartment. Monte Cristo quickly appreciated all that Albert had collected here⁠—old cabinets, Japanese porcelain, Oriental stuffs, Venetian glass, arms from all parts of the world⁠—everything was familiar to him; and at the first glance he recognized their date, their country, and their origin.

Morcerf had expected he should be the guide; on the contrary, it was he who, under the count’s guidance, followed a course of archaeology, mineralogy, and natural history.

They descended to the first floor; Albert led his guest into the salon. The salon was filled with the works of modern artists; there were landscapes by Dupré, with their long reeds and tall trees, their lowing oxen and marvellous skies; Delacroix’s Arabian cavaliers, with their long white burnouses, their shining belts, their damasked arms, their horses, who tore each other with their teeth while their riders contended fiercely with their maces; aquarelles of Boulanger, representing Notre Dame de Paris with that vigor that makes the artist the rival of the poet; there were paintings by Diaz, who makes his flowers more beautiful than flowers, his suns more brilliant than the sun; designs by Decamp, as vividly colored as those of Salvator Rosa, but more poetic; pastels by Giraud and Müller, representing children like angels and women with the features of a virgin; sketches torn from the album of Dauzats’ Travels in the East, that had been made in a few seconds on the saddle of a camel, or beneath the dome of a mosque⁠—in a word, all that modern art can give in exchange and as recompense for the art lost and gone with ages long since past.

Albert expected to have something new this time to show to the traveller, but, to his great surprise, the latter, without seeking for the signatures, many of which, indeed, were only initials, named instantly the author of every picture in such a manner that it was easy to see that each name was not only known to him, but that each style associated with it had been appreciated and studied by him. From the salon they passed into the bedchamber; it was a model of taste and simple elegance. A single portrait, signed by Léopold Robert, shone in its carved and gilded frame. This portrait attracted the Count of Monte Cristo’s attention, for he made three rapid steps in the chamber, and stopped suddenly before it.

It was the portrait of a young woman of five or six-and-twenty, with a dark complexion, and light and lustrous eyes, veiled beneath