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 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