In spite of these petty troubles and annoyances—who is exempt from them in this world?—Topaz filled his barns; and his fame increased, keeping pace with his fortune. He perceived that the time had arrived for him to fill a larger field. His own industry had secured for him riches and honour, but the dream of his life was yet unfulfilled. Why should he not embrace the golden opportunity, and become a great teacher, a benefactor of his kind? His fame had reached the ears of a distant potentate, an Elephant-sovereign whose territory was somewhere—no matter where—it had never found its way into any {172} map; no civilised being had ever set foot on his soil. This Elephant sent an embassy to the Parisian painter, charged with the mission of bringing Topaz to his court. He was an elephantine Francis I., calling to his presence another Léonardo da Vinci. His brilliant offers were at once accepted. This is how absolute monarchs proceed in their caprices, Topaz was promised, besides a considerable share of the native produce, the title of Cacique, and the ribbon of the ivory tooth. The artist set off mounted on a horse, and followed by a mule, bearing his faithful Sapajo and his precious machine. He at length arrived without accident at the court of the Sultan Poussal. Topaz was at once introduced to his Royal Highness, by the usual Minister of Rites and Ceremonies. The artist prostrated himself before the potentate, who gracefully raised him with the point of his proboscis, and allowed him to kiss one of his enormous feet, the same foot which later—but I must not anticipate events. His Massive Majesty was in such a ferment of impatient curiosity, that before taking any rest or refreshment, Topaz was requested to unpack his box and set to work without delay. He accordingly prepared his instrument, heated his drugs, and selected his finest plate for the royal image. The plate was small, but it was necessary that the entire elephant should figure on its surface. “Good,” said Topaz, “since it is a miniature His Majesty requires, I am certain he will be delighted with the result” (Topaz recalled his early experience with the Boar). He placed the king as far as possible from the camera so as to diminish his image and fill the plate, after which he conducted his operations with the nicest care. All the courtiers awaited the result with anxiety as profound as if it were the casting of a statue. The sun was scorching. After a few minutes the artist took up the plate lightly, and triumphantly presented it to the gaze of His Majesty; hardly had the king cast his eyes upon it, when he burst into a loud laugh, and without knowing why, all the courtiers joined in the royal hilarity. It was like an Olympian scene. [Illustration]