“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. Every one who surrounds me is free to quit me, and when they leave me will no longer have any need of me or any one 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 Chateau-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 Chateau-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 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 Dupre, 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 Muller, 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.