at him. Once he caught her eye, and smiled at her. Germaine's back was eloquent of her displeasure. The Duke stopped at a gap in the line of pictures in which there hung a strip of old tapestry.
"I can never understand why you have left all these ancestors of mine staring from the walls and have taken away the quite admirable and interesting portrait of myself," he said carelessly.
Germaine turned sharply from the window; Sonia stopped in the middle of addressing an envelope; and both the girls stared at him in astonishment.
"There certainly was a portrait of me where that tapestry hangs. What have you done with it?" said the Duke.
"You're making fun of us again," said Germaine.
"Surely your Grace knows what happened," said Sonia.
"We wrote all the details to you and sent you all the papers three years ago. Didn't you get them?" said Germaine.
"Not a detail or a newspaper. Three years ago I was in the neighbourhood of the South Pole, and lost at that," said the Duke.
"But it was most dramatic, my dear Jacques. All Paris was talking of it," said Germaine. "Your portrait was stolen."
"Stolen? Who stole it?" said the Duke.
Germaine crossed the hall quickly to the gap in the line of pictures.
"I'll show you," she said.
She drew aside the piece of tapestry, and in the middle of the panel over which the portrait of the Duke had hung he saw written in chalk the words:
ARSENE LUPIN
"What do you think of that autograph?" said Germaine.
"'Arsene Lupin?'" said the Duke in a tone of some bewilderment.
"He left his signature. It seems that he always does so," said Sonia in an explanatory tone.
"But who is he?" said the Duke.
"Arsene Lupin? Surely you know who Arsene Lupin is?" said Germaine impatiently.
"I haven't the slightest notion," said the Duke.
"Oh, come! No one is as South-Pole as all that!" cried Germaine. "You don't know who Lupin is? The most whimsical, the most audacious, and the most genial thief in France. For the last ten years he has kept the police at bay. He has baffled Ganimard, Holmlock Shears, the great English detective, and even Guerchard, whom everybody says is the greatest detective we've had in France since Vidocq. In fact, he's our national robber. Do you mean to say you don't know him?"
"Not even enough to ask him to lunch at a restaurant," said the Duke flippantly. "What's he like?"
"Like? Nobody has the slightest idea. He has a thousand disguises. He has dined two evenings running at the English Embassy."
"But if nobody knows him, how did they learn that?" said the Duke, with a puzzled air.
"Because the second evening, about ten o'clock, they noticed that one of the guests had disappeared, and with him all the jewels of the ambassadress."
"All of them?" said the Duke.
"Yes; and Lupin left his card behind him with these words scribbled on it:"
"'This is not a robbery; it is a restitution. You took the Wallace collection from us.'"
"But it was a hoax, wasn't it?" said the Duke.
"No, your Grace; and he has done better than that. You remember the affair of the Daray Bank—the savings bank for poor people?" said Sonia, her gentle face glowing with a sudden enthusiastic animation.
"Let's see," said the Duke. "Wasn't that the financier who doubled his fortune at the expense of a heap of poor wretches and ruined two thousand people?"
"Yes; that's the man," said Sonia. "And Lupin stripped Daray's house and took from him everything he had in his strong-box. He didn't leave him a sou of the money. And then, when he'd taken it from him, he distributed it among all the poor wretches whom Daray had ruined."
"But this isn't a thief you're talking about—it's a philanthropist," said the Duke.
"A fine sort of philanthropist!" broke in Germaine in a peevish tone. "There was a lot of philanthropy about his robbing papa, wasn't there?"
"Well," said the Duke, with an air of profound reflection, "if you come to think of it, that robbery was not worthy of this national hero. My portrait, if you except the charm and beauty of the face itself, is not worth much."
"If you think he was satisfied with your portrait, you're very much mistaken. All my father's collections were robbed," said Germaine.
"Your father's collections?" said the Duke. "But they're better guarded than the Bank of France. Your father is as careful of them as the apple of his eye."
"That's exactly it—he was too careful of them. That's why Lupin succeeded."
"This is very interesting," said the Duke; and he sat down on a couch before the gap in the pictures, to go into the matter more at his ease. "I suppose he had accomplices in the house itself?"
"Yes, one accomplice," said Germaine.
"Who was that?" asked the Duke.
"Papa!" said Germaine.
"Oh, come! what on earth do you mean?" said the Duke. "You're getting quite incomprehensible, my dear girl."
"Well, I'll make it clear to you. One morning papa received a letter—but wait. Sonia, get me the Lupin papers out of the bureau."
Sonia rose from the writing-table, and went to a bureau, an admirable example of the work of the great English maker, Chippendale. It stood on the other side of the hall between an Oriental cabinet and a sixteenth-century Italian cabinet—for all the world as if it were standing in a crowded curiosity shop—with the natural effect that the three pieces, by their mere incongruity, took something each from the beauty of the other. Sonia raised the flap of the bureau, and taking from one of the drawers a small portfolio, turned over the papers in it and handed a letter to the Duke.
"This is the envelope," she said. "It's addressed to M. Gournay-Martin, Collector, at the Chateau de Charmerace, Ile-et-Vilaine."
The Duke opened the envelope and took out a letter.
"It's an odd handwriting," he said.
"Read it—carefully," said Germaine.
It was an uncommon handwriting. The letters of it were small, but perfectly formed. It looked the handwriting of a man who knew exactly what he wanted to say, and liked to say it with extreme precision. The letter ran:
"DEAR SIR,"
"Please forgive my writing to you without our having been introduced to one another; but I flatter myself that you know me, at any rate, by name."
"There is in the drawing-room next your hall a Gainsborough of admirable quality which affords me infinite pleasure. Your Goyas in the same drawing-room are also to my liking, as well as your Van Dyck. In the further drawing-room I note the Renaissance cabinets—a marvellous pair—the Flemish tapestry, the Fragonard, the clock signed
