The object of his visit to me was as follows: his father, when going through the effects of my uncle Adolphe, had set aside some which, he felt, could not very well be sent to my parents but were at the same time of a nature likely to interest a young man of my age. These were the photographs of the famous actresses, the notorious courtesans whom my uncle had known, the last fading pictures of that gay life of a man about town which he divided by a watertight compartment from his family life. While young Morel was showing them to me, I noticed that he addressed me as though he were speaking to an equal. He derived from saying “you” to me as often, and “sir” as seldom as possible the pleasure natural in one whose father had never ventured, when addressing my parents, upon anything but the third person. Almost all these photographs bore an inscription such as: “To my best friend.” One actress, less grateful and more circumspect than the rest, had written: “To the best of friends,” which enabled her (so I was assured) to say afterwards that my uncle was in no sense and had never been her best friend but was merely the friend who had done the most little services for her, the friend she made use of, a good, kind man, in other words an old fool.