VI
Signor Mosquetti Relates an Adventure
On the evening which follows the very afternoon during which Richard Marwood made his first and only essay in the milk-trade, the Count and Countess de Marolles attend a musical party—I beg pardon, I should, gentle reader, as you know, have said a soirée musicale—at the house of a lady of high rank in Belgrave Square. London was almost empty, and this was one of the last parties of the season; but it is a goodly and an impressive sight to see—even when London is, according to every fashionable authority, a perfect Sahara—how many splendid carriages will draw up to the awning my Lady erects over the pavement before her door, when she announces herself “at home;” how many gorgeously dressed and lovely women will descend therefrom, scenting the night air of Belgravia with the fragrance wafted from their waving tresses and point-d’Alençon-bordered handkerchiefs; lending a perfume to the autumn violets struggling out a fading existence in Dresden boxes on the drawing-room balconies; lending the light of their diamonds to the gas-lamps before the door, and the light of their eyes to help out the aforesaid diamonds; sweeping the autumn dust and evening dews with the borders of costly silks, and marvels of Lyons and Spitalfields, and altogether glorifying the ground over which they walk.
On this evening one range of windows, at least, in Belgrave Square is brilliantly illuminated. Lady Londersdon’s Musical Wednesday, the last of the season, has been inaugurated with éclat by a scena from Signora Scorici, of Her Majesty’s Theatre and the Nobility’s Concerts; and Mr. Argyle Fitz-Bertram, the great English basso-baritono, and the handsomest man in England, has just shaken the square with the buffo duet from the Cenerentola—in which performance he, Argyle, has so entirely swamped that amiable tenor Signor Maretti, that the latter gentleman has serious thoughts of calling him out tomorrow morning; which idea he would carry into execution if Argyle Fitz-Bertram were not a crack shot, and a pet pupil of Mr. Angelo’s into the bargain.
But even the great Argyle finds himself—with the exception of being up to his eyes in a slough of despond, in the way of platonic flirtation with a fat duchess of fifty—comparatively nowhere. The star of the evening is the new tenor, Signor Mosquetti, who has condescended to attend Lady Londersdon’s Wednesday. Argyle, who is the best-natured fellow as well as the most generous, and whose great rich voice wells up from a heart as sound as his lungs, throws himself back into a low easy-chair—it creaks a little under his weight, by the by—and allows the duchess to flirt with him, while a buzz goes round the room; Mosquetti is going to sing. Argyle looks lazily out of his half-closed dark eyes, with that peculiar expression which seems to say—“Sing your best, old fellow! My G in the bass clef would crush your half-octave or so of falsetto before you knew where you were, or your ‘Pretty Jane’ either. Sing away, my boy! we’ll have ‘Scots Wha Hae’ by-and-by. I’ve some friends down in Essex who want to hear it, and the wind’s in the right quarter for the voice to travel. They won’t hear you five doors off. Sing your best.”
Just as Signor Mosquetti is about to take his place at the piano, the Count and Countess de Marolles advance through the crowd about the doorway.
Valerie, beautiful, pale, calm as ever, is received with considerable empressement by her hostess. She is the heiress of one of the most ancient and aristocratic families in France, and is moreover the wife of one of the richest men in London, so is sure of a welcome throughout Belgravia.
“Mosquetti is going to sing,” murmurs Lady Londersdon; “you were charmed with him in the Lucia, of course? You have lost Fitz-Bertram’s duet. It was charming; all the chandeliers were shaken by his lower notes; charming, I assure you. He’ll sing again after Mosquetti: the Duchess of C. is éprise, as you see. I believe she is perpetually sending him diamond rings and studs; and the Duke, they do say, has refused to be responsible for her account at Storr’s.”
Valerie’s interest in Mr. Fitz-Bertram’s conduct is not very intense; she bends her haughty head, just slightly elevating her arched eyebrows with the faintest indication of well-bred surprise; but she is interested in Signor Mosquetti, and avails herself of the seat her hostess offers to her near Erard’s grand piano. The song concludes very soon after she is seated; but Mosquetti remains near the piano, talking to an elderly gentleman, who is evidently a connoisseur.
“I have never heard but one man, Signor Mosquetti,” says this gentleman, “whose voice resembled yours.”
There is nothing very particular in the words, but Valerie’s attention is apparently arrested by them, for she fixes her eyes intently on Signor Mosquetti, as though awaiting his reply.
“And he, my lord?” says Mosquetti, interrogatively.
“He, poor fellow, is dead.” Now indeed Valerie, pale with a pallor greater than usual, listens as though her whole soul hung on the words she heard.
“He is dead,” continued the gentleman. “He died young, in the zenith of his reputation. His name was—let me see—I heard him in Paris last; his name was—”
“De Lancy, perhaps, my lord?” says Mosquetti.
“It was De Lancy; yes. He had some most peculiar and at the same time most beautiful tones in
