Part 82

“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. Chapter 41. 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 archæology, 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 long lashes. She wore the picturesque costume of the Catalan fisherwomen, a red and black bodice, and golden pins in her hair. She was looking at the sea, and her form was outlined on the blue ocean and sky. The light was so faint in the room that Albert did not perceive the pallor that spread itself over the count’s visage, or the nervous heaving of his chest and shoulders. Silence prevailed for an instant, during which Monte Cristo gazed intently on the picture. “You have there a most charming mistress, viscount,” said the count in a perfectly calm tone; “and this costume—a ball costume, doubtless—becomes her admirably.” “Ah, monsieur,” returned Albert, “I would never forgive you this mistake if you had seen another picture beside this. You do not know my mother; she it is whom you see here. She had her portrait painted thus six or eight years ago. This costume is a fancy one, it appears, and the resemblance is so great that I think I still see my mother the same as she was in 1830. The countess had this portrait painted during the count’s absence. She doubtless intended giving him an agreeable surprise; but, strange to say, this portrait seemed to displease my father, and the value of the picture, which is, as you see, one of the best works of Léopold Robert, could not overcome his dislike to it. It is true, between ourselves, that M. de Morcerf is one of the most assiduous peers at the Luxembourg, a general renowned for theory, but a most mediocre amateur of art. It is different with my mother, who paints exceedingly well, and who, unwilling to part with so valuable a picture, gave it to me to put here, where it would be less likely to displease M. de Morcerf, whose portrait, by Gros, I will also show you. Excuse my talking of family matters, but as I shall have the honor of introducing you to the count, I tell you this to prevent you making any allusions to this picture. The picture seems to have a malign influence, for my mother rarely comes here without looking at it, and still more rarely does she look at it without weeping. This disagreement is the only one that has ever taken place between the count and countess, who are still as much united, although married more than twenty years, as on the first day of their wedding.” 20261m Monte Cristo glanced rapidly at Albert, as if to seek a hidden meaning in his words, but it was evident the young man uttered them in the simplicity of his heart. “Now,” said Albert, “that you have seen all my treasures, allow me to offer them to you, unworthy as they are. Consider yourself as in your own house, and to put yourself still more at your ease, pray accompany me to the apartments of M. de Morcerf, he whom I wrote from Rome an account of the services you rendered me, and to whom I announced your promised visit, and I may say that both the count and countess anxiously desire to thank you in person. You are somewhat _blasé_ I know, and family scenes have not much effect on Sinbad the Sailor, who has seen so many others. However, accept what I propose to you as an initiation into Parisian life—a life of politeness, visiting, and introductions.” Monte Cristo bowed without making any answer; he accepted the offer without enthusiasm and without regret, as one of those conventions of society which every gentleman looks upon as a duty. Albert summoned his servant, and ordered him to acquaint M. and Madame de Morcerf of the arrival of the Count of Monte Cristo. Albert followed him with the count. When they arrived at the antechamber, above the door was visible a shield, which, by its rich ornaments and its harmony with the rest of the furniture, indicated the importance the owner attached to this blazon. Monte Cristo stopped and examined it attentively. “Azure seven merlets, or, placed bender,” said he. “These are, doubtless, your family arms? Except the knowledge of blazons, that enables me to decipher them, I am very ignorant of heraldry—I, a count of a fresh creation, fabricated in Tuscany by the aid of a commandery of St. Stephen, and who would not have taken the trouble had I not been told that when you travel much it is necessary. Besides, you must have something on the panels of your carriage, to escape being searched by the custom-house officers. Excuse my putting such a question to you.” “It is not indiscreet,” returned Morcerf, with the simplicity of conviction. “You have guessed rightly. These are our arms, that is, those of my father, but they are, as you see, joined to another shield, which has gules, a silver tower, which are my mother’s. By her side I am Spanish, but the family of Morcerf is French, and, I have heard, one of the oldest of the south of France.” “Yes,” replied Monte Cristo “these blazons prove that. Almost all the armed pilgrims that went to the Holy Land took for their arms either a cross, in honor of their mission, or birds of passage, in sign of the long voyage they were about to undertake, and which they hoped to accomplish on the wings of faith. One of your ancestors had joined the Crusades, and supposing it to be only that of St. Louis, that makes you mount to the thirteenth century, which is tolerably ancient.” “It is possible,” said Morcerf; “my father has in his study a genealogical tree which will tell you all that, and on which I made commentaries that would have greatly edified d’Hozier and Jaucourt. At present I no longer think of it, and yet I must tell you that we are beginning to occupy ourselves greatly with these things under our popular government.” “Well, then, your government would do well to choose from the past something better than the things that I have noticed on your monuments, and which have no heraldic meaning whatever. As for you, viscount,” continued Monte Cristo to Morcerf, “you are more fortunate than the government, for your arms are really beautiful, and speak to the imagination. Yes, you are at once from Provence and Spain; that explains, if the portrait you showed me be like, the dark hue I so much admired on the visage of the noble Catalan.” It would have required the penetration of Œdipus or the Sphinx to have divined the irony the count concealed beneath these words, apparently uttered with the greatest politeness. Morcerf thanked him with a smile, and pushed open the door above which were his arms, and which, as we have said, opened into the salon. In the most conspicuous part of the salon was another portrait. It was that of a man, from five to eight-and-thirty, in the uniform of a general officer, wearing the double epaulet of heavy bullion, that indicates superior rank, the ribbon of the Legion of Honor around his neck, which showed he was a commander, and on the right breast, the star of a grand officer of the order of the Saviour, and on the left that of the grand cross of Charles III., which proved that the person represented by the picture had served in the wars of Greece and Spain, or, what was just the same thing as regarded decorations, had fulfilled some diplomatic mission in the two countries.