Fouché, who had voted the death of his brother. Mme. de Guermantes was now nourishing a similar project of arranging a meeting between Princesse Murat and the Queen of Naples. In the meantime, the Princesse de Parme appeared as embarrassed as might have been the heirs-apparent to the Thrones of the Netherlands and Belgium, styled respectively Prince of Orange and Duke of Brabant, had one offered to present to them M. de Mailly Nesle, Prince d’Orange, and M. de Charlus, Duc de Brabant. But, before anything further could happen, the Duchess, whom Swann and M. de Charlus 289between them (albeit the latter was resolute in ignoring the Iénas’ existence) had with great difficulty succeeded in making admire the Empire style, exclaimed: “Honestly, Ma’am, I can’t tell you how beautiful you will think it! I must confess that the Empire style has always had a fascination for me. But at the Iénas’ it is really like a hallucination. That sort of—what shall I say—reflux from the Expedition to Egypt, and also the sweep forward into our own times from Antiquity, all those things that invade our houses, the Sphinxes that come to crouch at the feet of the sofas, the serpents coiled round candelabra, a huge Muse who holds out a little torch for you to play at bouillotte, or has quietly climbed on to the mantelpiece and is leaning against your clock; and then all the Pompeian lamps, the little boat-shaped beds which look as if they had been found floating on the Nile so that you expect to see Moses climb out of them, the classical chariots galloping along the bed tables….” “They’re not very comfortable to sit in, those Empire chairs,” the Princess ventured. “No,” the Duchess agreed, “but,” she at once added, insisting on the point with a smile: “I like being uncomfortable on those mahogany seats covered with ruby velvet or green silk. I like that discomfort of the warrior who understands nothing but the curule chair and in the middle of his principal drawing-room crosses his fasces and piles his laurels. I can assure you that at the Iénas’ one doesn’t stop to think for a moment of how comfortable one is, when one sees in front of one a great strapping wench of a Victory painted in fresco on the wall. My husband is going to say that I’m a very bad Royalist, but I’m terribly disaffected, as you know, I can assure 290you that in those people’s house one comes to love all the big ‘N’s and all the bees. Good gracious, after all for a good many years under our Kings we weren’t exactly surfeited with glory, and so these warriors who brought home so many crowns that they stuck them even on the arms of the chairs, I must say I think it’s all rather fetching! Your Highness ought really.” “Why, my dear, if you think so,” said the Princess, “but it seems to me that it won’t be easy.” “But Ma’am will find that it will all go quite smoothly. They are very good people, and no fools. We took Mme. de Chevreuse there,” added the Duchess, knowing the force of this example, “she was enchanted. The son is really very pleasant. I’m going to say something that’s not quite proper,” she went on, “but he has a bedroom, and more especially a bed in it, in which I should love to sleep—without him! What is even less proper is that I went to see him once when he was ill and lying in it. By his side on the frame of the bed was moulded a long Siren, stretched out at full length, a lovely thing with a mother-of-pearl tail and some sort of lotus flowers in her hand. I assure you,” went on Mme. de Guermantes, reducing the speed of her utterances to bring into even bolder relief the words which she had the air of modelling with the pout of her fine lips, drawing them out with her long expressive hands, directing on the Princess as she spoke a gentle, steady and searching gaze, “that with the palms and the golden crown at the side of it was most moving, it was just the arrangement of Gustave Moreau’s Death and the Young Man (your Highness must know that great work, of course).” The Princesse de Parme, who did not know so much as the painter’s name, made violent movements 291with her head and smiled ardently, in order to manifest her admiration for his picture. But the intensity of her mimicry could not fill the place of that light which is absent from our eyes so long as we do not understand what people are trying to tell us. “A good-looking boy, I believe?” she asked. “No, for he’s just like a tapir. The eyes are a little those of a Queen Hortense on a screen. But he has probably come to the conclusion that it is rather absurd for a man to develop such a resemblance, and it is lost in the encaustic surface of his cheeks which give him really rather a Mameluke appearance. You feel that the polisher must call round every morning. Swann,” she went on, reverting to the bed of the young Duke, “was struck by the resemblance between this Siren and Gustave Moreau’s Death. But apart from that,” she added, her speech becoming more rapid though still serious, so as to provoke more laughter, “there was nothing really that could strike us, for it was only a cold in the head, and the young man made a marvellous recovery.” “They say he’s a snob?” put in M. de Bréauté, with a malicious twinkle, expecting to be answered with the same precision as though he had said: “They tell me that he has only four fingers on his right hand; is that so?” “G—ood g—racious, n—o,” replied Mme. de Guermantes with a smile of benign indulgence. “Perhaps just the least little bit of a snob in appearance, because he’s extremely young, but I should be surprised to hear that he was really, for he’s intelligent,” she added, as though there were to her mind some absolute incompatibility between snobbishness and intelligence. “He has wit, too, I’ve known him be quite amusing,” she said again, laughing with 292the air of an epicure and expert, as though the act of declaring that a person could be amusing demanded a certain expression of merriment from the speaker, or as though the Duc de Guastalla’s sallies were recurring to her mind as she spoke. “Anyway, as he never goes anywhere, he can’t have much field for his snobbishness,” she wound up, forgetting that this was hardly encouraging the Princesse de Parme to make overtures. “I cannot help wondering what the Prince de Guermantes, who calls her Mme. Iéna, will say if he hears that I’ve been to see her.” “What!” cried the Duchess with extraordinary vivacity. “Don’t you know that it was we who gave up to Gilbert” (she bitterly regretted that surrender now) “a complete card-room done in the Empire style which came to us from Quiou-Quiou, and is an absolute marvel! There was no room for it here, though I think it would look better here than it does with him. It’s a thing of sheer beauty, half Etruscan, half Egyptian….” “Egyptian?” queried the Princess, to whom the word Etruscan conveyed little. “Well, really, you know, a little of both. Swann told us that, he explained it all to me, only you know I’m such a dunce. But then, Ma’am, what one has to bear in mind is that the Egypt of the Empire cabinet-makers has nothing to do with the historical Egypt, nor their Roman with the Romans nor their Etruria….” “Indeed,” said the Princess. “No, it’s like what they used to call a Louis XV costume under the Second Empire, when Anna de Monchy and dear Brigode’s mother were girls. Basin was talking to you just now about Beethoven. We heard a thing of his played the other day which was really quite good, though a little stiff, with a Russian theme in it. It’s pathetic to 293think that he believed it to be Russian. In the same way as the Chinese painters believed they were copying Bellini. Besides, even in the same country, whenever anybody begins to look at things in a way that is slightly novel, nine hundred and ninety-nine people out of a thousand are totally incapable of seeing what he puts before them. It takes at least forty years before they can manage to make it out.” “Forty years!” the Princess cried in alarm. “Why, yes,” went on the Duchess, adding more and more to her words (which were practically my own, for I had just been expressing a similar idea to her), thanks to her way of pronouncing them, the equivalent of what on the printed page is called italics: “it’s like a sort of first isolated individual of a species which does not yet exist but is going to multiply in the future, an individual endowed with a kind of sense which the human race of his generation does not possess. I can hardly give myself as an instance because I, on the contrary, have always loved any interesting production from the very start, however novel it might be. But really, the other day I was with the Grand Duchess in the Louvre and we happened to pass before Manet’s Olympia. Nowadays nobody is in the least surprised by it. It looks just like an Ingres! And