The Count of Monte Cristo, The Man in the Iron Mask & The Three Musketeers (3 Books in One Edition). Alexandre DumasЧитать онлайн книгу.
he is a countryman of yours, if a Corsican is a countryman of any one’s. But you know him, M. de Morcerf.”
“Is it that excellent M. Bertuccio, who understands hiring windows so well?”
“Yes, you saw him the day I had the honor of receiving you; he has been a soldier, a smuggler — in fact, everything. I would not be quite sure that he has not been mixed up with the police for some trifle — a stab with a knife, for instance.”
“And you have chosen this 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 Chateau-Renaud, “since you have an establishment, a steward, and a hotel in the Champs Elysees, 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 Varietes; 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. 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.
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 bed-chamber; it was a model of taste and simple elegance. A single portrait, signed by Leopold 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 Leopold 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,