A footman, who knew Mathieu, at once took him upstairs to the cabinet and begged him to wait there, while Monsieur finished dressing. For a moment the visitor fancied himself alone and glanced round the spacious room, feeling interested in its adornments, the lofty windows of old stained glass, the hangings of old Genoese velvet and brocaded silk, the oak bookcases showing the highly ornamented backs of the volumes they contained; the tables laden with _bibelots_, bronzes, marbles, goldsmith's work, glass work, and the famous collection of modern pewter-work. Then Eastern carpets were spread out upon all sides; there were low seats and couches for every mood of idleness, and cosy nooks in which one could hide oneself behind fringes of lofty plants. "Oh! so it's you, Monsieur Froment," suddenly exclaimed somebody in the direction of the table allotted to the pewter curios. And thereupon a tall young man of thirty, whom a screen had hitherto hidden from Mathieu's view, came forward with outstretched hand. "Ah!" said Mathieu, after a moment's hesitation, "Monsieur Charles Santerre." This was but their second meeting. They had found themselves together once before in that same room. Charles Santerre, already famous as a novelist, a young master popular in Parisian drawing-rooms, had a fine brow, caressing brown eyes, and a large red mouth which his moustache and beard, cut in the Assyrian style and carefully curled, helped to conceal. He had made his way, thanks to women, whose society he sought under pretext of studying them, but whom he was resolved to use as instruments of fortune. As a matter of calculation and principle he had remained a bachelor and generally installed himself in the nests of others. In literature feminine frailty was his stock subject he had made it his specialty to depict scenes of guilty love amid elegant, refined surroundings. At first he had no illusions as to the literary value of his works; he had simply chosen, in a deliberate way, what he deemed to be a pleasant and lucrative trade. But, duped by his successes, he had allowed pride to persuade him that he was really a writer. And nowadays he posed as the painter of an expiring society, professing the greatest pessimism, and basing a new religion on the annihilation of human passion, which annihilation would insure the final happiness of the world. "Séguin will be here in a moment," he resumed in an amiable way. "It occurred to me to take him and his wife to dine at a restaurant this evening, before going to a certain first performance where there will probably be some fisticuffs and a rumpus to-night."