The baroness was partially reclining on a sofa, Eugenie sat near her, and Cavalcanti was standing. Cavalcanti, dressed in black, like one of Goethe's heroes, with varnished shoes and white silk open-worked stockings, passed a white and tolerably nice-looking hand through his light hair, and so displayed a sparkling diamond, that in spite of Monte Cristo's advice the vain young man had been unable to resist putting on his little finger. This movement was accompanied by killing glances at Mademoiselle Danglars, and by sighs launched in the same direction. Mademoiselle Danglars was still the same--cold, beautiful, and satirical. Not one of these glances, nor one sigh, was lost on her; they might have been said to fall on the shield of Minerva, which some philosophers assert protected sometimes the breast of Sappho. Eugenie bowed coldly to the count, and availed herself of the first moment when the conversation became earnest to escape to her study, whence very soon two cheerful and noisy voices being heard in connection with occasional notes of the piano assured Monte Cristo that Mademoiselle Danglars preferred to his society and to that of M. Cavalcanti the company of Mademoiselle Louise d'Armilly, her singing teacher.
It was then, especially while conversing with Madame Danglars, and apparently absorbed by the charm of the conversation, that the count noticed M. Andrea Cavalcanti's solicitude, his manner of listening to the music at the door he dared not pass, and of manifesting his admiration. The banker soon returned. His first look was certainly directed towards Monte Cristo, but the second was for Andrea. As for his wife, he bowed to her, as some husbands do to their wives, but in a way that bachelors will never comprehend, until a very extensive code is published on conjugal life.
"Have not the ladies invited you to join them at the piano?" said Danglars to Andrea. "Alas, no, sir," replied Andrea with a sigh, still more remarkable than the former ones. Danglars immediately advanced towards the door and opened it.
The two young ladies were seen seated on the same chair, at the piano, accompanying themselves, each with one hand, a fancy to which they had accustomed themselves, and performed admirably. Mademoiselle d'Armilly, whom they then perceived through the open doorway, formed with Eugenie one of the tableaux vivants of which the Germans are so fond. She was somewhat beautiful, and exquisitely formed--a little fairy-like figure, with large curls falling on her neck, which was rather too long, as Perugino sometimes makes his Virgins, and her eyes dull from fatigue. She was said to have a weak chest, and like Antonia in the "Cremona Violin," she would die one day while singing. Monte Cristo cast one rapid and curious glance round this sanctum; it was the first time he had ever seen Mademoiselle d'Armilly, of whom he had heard much. "Well," said the banker to his daughter, "are we then all to be excluded?" He then led the young man into the study, and either by chance or manoeuvre the door was partially closed after Andrea, so that from the place where they sat neither the Count nor the baroness could see anything; but as the banker had accompanied Andrea, Madame Danglars appeared to take no notice of it.