It was a vast four-sided room, thirty feet long, eighteen wide, and fifteen high. A luminous ceiling, decorated with light arabesques, shed a soft clear light over all the marvels accumulated in this museum. For it was in fact a museum, in which an intelligent and prodigal hand had gathered all the treasures of nature and art, with the artistic confusion which distinguishes a painter’s studio. Thirty first-rate pictures, uniformly framed, separated by bright drapery, ornamented the walls, which were hung with tapestry of severe design. I saw works of great value, the greater part of which I had admired in the special collections of Europe, and in the exhibitions of paintings. The several schools of the old masters were represented by a Madonna of Raphael, a Virgin of Leonardo da Vinci, a nymph of Correggio, a woman of Titian, an Adoration of Veronese, an Assumption of Murillo, a portrait of Holbein, a monk of Velasquez, a martyr of Ribeira, a fair of Rubens, two Flemish landscapes of Teniers, three little “genre” pictures of Gérard Dow, Metsu, and Paul Potter, two specimens of Géricault and Prudhon, and some sea-pieces of Backhuysen and Vernet. Among the works of modern painters were pictures with the signatures of Delacroix, Ingres, Decamp, Troyon, Meissonier, Daubigny, etc.; and some admirable statues in marble and bronze, after the finest antique models, stood upon pedestals in the corners of this magnificent museum. Amazement, as the captain of the Nautilus had predicted, had already begun to take possession of me.
“Professor,” said this strange man, “you must excuse the unceremonious way in which I receive you, and the disorder of this room.”
“Sir,” I answered, “without seeking to know who you are, I recognize in you an artist.”
“An amateur, nothing more, sir. Formerly I loved to collect these beautiful works created by the hand of man. I sought them greedily and ferreted them out indefatigably, and I have been able to bring together some objects of great value. These are my last souvenirs of that world which is dead to me. In my eyes, your modern artists are already old; they have two or three thousand years of existence; I confound them in my own mind. Masters have no age.”
“And these musicians?” said I, pointing out some works of Weber, Rossini, Mozart, Beethoven, Haydn, Meyerbeer, Hérold, Wagner, Auber, Gounod, and a number of others scattered over a large model piano organ which occupied one of the panels of the drawing-room.
“These musicians,” replied Captain Nemo, “are the contemporaries of Orpheus; for in the memory of the dead all chronological differences are effaced; and I am dead, professor; as much dead as those of your friends who are sleeping six feet under the earth!”
Captain Nemo was silent, and seemed lost in a profound reverie. I contemplated him with deep interest, analyzing in silence the strange expression of his countenance. Leaning on his elbow against an angle of a costly mosaic table, he no longer saw me—he had forgotten my presence.
I did not disturb this reverie, and continued my observation of the curiosities which enriched this drawing-room.
Under elegant glass cases, fixed by copper rivets, were classed and labeled the most precious productions of the sea which had ever been presented to the eye of a naturalist. My delight as a professor may be conceived.
The division containing the zoöphytes presented the most curious specimens of the two groups of polypi and echinodermes. In the first group, the tubipores, were gorgones arranged like a fan, soft sponges of Syria, ises of the Moluccas, pennatules, an admirable virgularia of the Norwegian seas, variegated umbellulariæ, alcyonariæ, a whole series of madrepores, which my master Milne-Edwards has so cleverly classified, among which I remarked some wonderful flabellinæ, oculinæ of the island of Bourbon, the “Neptune’s car” of the Antilles, superb varieties of corals, in short, every species of those curious polypi of which entire islands are formed, which will one day become continents. Of the echinodermes, remarkable for their coating of spines, asteri, sea-stars, pantacrinæ, comatules, astérophons, echini, holothuri, etc., represented individually a complete collection of this group.
A somewhat nervous conchyliologist would certainly have fainted before other more numerous cases, in which were classified the specimens of mollusks. It was a collection of inestimable value, which time fails me to describe minutely. Among these specimens, I will quote from memory only the elegant royal hammer-fish of the Indian Ocean, whose regular white spots stood out brightly on a red and brown ground, an imperial spondyle, bright colored, bristling with spines, a rare specimen in the European museums (I estimated its value at not less than £1,000); a common hammer-fish of the seas of New Holland, which is only procured with difficulty; exotic buccardia of Senegal; fragile white bivalve shells, which a breath might shatter like a soap-bubble; several varieties of the aspirgillum of Java, a kind of calcareous tube, edged with leafy folds, and much debated by amateurs; a whole series of trochi, some a greenish-yellow, found in the American seas, others a reddish-brown, natives of Australian waters; others from the Gulf of Mexico, remarkable for their imbricated shell; stellari found in the Southern Seas; and last, the rarest of all, the magnificent spur of New Zealand; and every description of delicate and fragile shells to which science has given appropriate names.