Pons and Schmucke, on their side, cleaned, swept, and dusted Pons'
museum rooms and furniture with the agility of sailors cleaning down a
man-of-war. There was not a speck of dust on the carved wood; not an
inch of brass but it glistened. The glasses over the pastels obscured
nothing of the work of Latour, Greuze, and Liotard (illustrious
painter of _The Chocolate Girl_), miracles of an art, alas! so
fugitive. The inimitable lustre of Florentine bronze took all the
varying hues of the light; the painted glass glowed with color. Every
line shone out brilliantly, every object threw in its phrase in a
harmony of masterpieces arranged by two musicians--both of whom alike
had attained to be poets.
With a tact which avoided the difficulties of a late appearance on the
scene of action, the women were the first to arrive; they wished to be
on their own ground. Pons introduced his friend Schmucke, who seemed
to his fair visitors to be an idiot; their heads were so full of the
eligible gentleman with the four millions of francs, that they paid
but little attention to the worthy Pons' dissertations upon matters of
which they were completely ignorant.
They looked with indifferent eyes at Petitot's enamels, spaced over
crimson velvet, set in three frames of marvelous workmanship. Flowers
by Van Huysum, David, and Heim; butterflies painted by Abraham Mignon;
Van Eycks, undoubted Cranachs and Albrecht Durers; the Giorgione, the
Sebastian del Piombo; Backhuijzen, Hobbema, Gericault, the rarities of
painting--none of these things so much as aroused their curiosity;
they were waiting for the sun to arise and shine upon these treasures.
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