representing

The salon was filled with the works of modern artists; there were landscapes by Dupré, with their long reeds and tall trees, their lowing oxen and marvellous skies; Delacroix’s Arabian cavaliers, with their long white burnouses, their shining belts, their damasked arms, their horses, who tore each other with their teeth while their riders contended fiercely with their maces; aquarelles of Boulanger, representing Notre Dame de Paris with that vigor that makes the artist the rival of the poet; there were paintings by Diaz, who makes his flowers more beautiful than flowers, his suns more brilliant than the sun; designs by Decamp, as vividly colored as those of Salvator Rosa, but more poetic; pastels by Giraud and Müller, representing children like angels and women with the features of a virgin; sketches torn from the album of Dauzats’ “Travels in the East,” that had been made in a few seconds on the saddle of a camel, or beneath the dome of a mosque—in a word, all that modern art can give in exchange and as recompense for the art lost and gone with ages long since past.

At the moment when the hand of the massive time-piece, representing Endymion asleep, pointed to nine on its golden face, and the hammer, the faithful type of mechanical thought, struck nine times, the name of the Count of Monte Cristo resounded in its turn, and as if by an electric shock all the assembly turned towards the door.

By representing himself as a single man he acquired complete influence over her, and he gave her to understand that in the event of her obtaining a divorce from her husband he would marry her.

He concluded with representing to her the strength of that attachment which in spite of all his endeavours he had found impossible to conquer; and with expressing his hope that it would now be rewarded by her acceptance of his hand.