“We must have M. de Gesvres’s opinion.”
And Ganimard agreed:
“Yes, we must have his opinion.”
And they sent to beg the count to come to the drawing room.
The young sixth-form pupil had won a real victory. To compel two experts, two professionals like M. Filleul and Ganimard to take account of his surmises implied a testimony of respect of which any other would have been proud. But Beautrelet seemed not to feel those little satisfactions of self-conceit and, still smiling without the least trace of irony, he placidly waited.
M. de Gesvres entered the room.
“Monsieur le Comte,” said the magistrate, “the result of our inquiry has brought us face to face with an utterly unexpected contingency, which we submit to you with all reserve. It is possible—I say that it is possible—that the burglars, when breaking into the house, had it as their object to steal your four pictures by Rubens—or, at least, to replace them by four copies—copies which are said to have been made last year by a painter called Charpenais. Would you be so good as to examine the pictures and to tell us if you recognize them as genuine?”
The count appeared to suppress a movement of annoyance, looked at Isidore Beautrelet and at M. Filleul and replied, without even troubling to go near the pictures:
“I hoped, Monsieur le Juge d’Instruction, that the truth might have remained unknown. As this is not so, I have no hesitation in declaring that the four pictures are false.”
“You knew it, then?”