All that he feared was that I might form a bad impression of his mistress, after what he had told me. “She is violent simply because she is too frank, too thorough in her feelings. But she is a sublime creature. You can’t imagine what exquisite poetry there is in her. She goes every year to spend All Souls’ Day at Bruges. ‘Nice’ of her, don’t you think? If you ever do meet her you’ll see what I mean; she has a greatness....” And, as he was infected with certain of the mannerisms used in the literary circles in which the lady moved: “There is something sidereal about her, in fact something bardic; you know what I mean, the poet merging into the priest.” I was searching all through dinner for a pretext which would enable Saint-Loup to ask his aunt to see me without my having to wait until he came to Paris. Now such a pretext was furnished by the desire that I had to see some more pictures by Elstir, the famous painter whom Saint-Loup and I had met at Balbec. A pretext behind which there was, moreover, an element of truth, for if, on my visits to Elstir, what I had asked of his painting had been that it should lead me to the comprehension and love of things better than itself, a real thaw, an authentic square in a country town, live women on a beach (all the more would I have commissioned from it the portraits of the realities which I had not been able to fathom, such as a lane of hawthorn-blossoms, not so much that it might perpetuate their beauty for me as that it might reveal that beauty to me), now, on the other hand, it was the originality, the seductive attraction of those paintings that aroused my desire, and what I wanted above anything else was to look at other pictures by Elstir. It seemed to me, also, that the least of his pictures were something quite different from the masterpieces even of greater painters than himself. His work was like a realm apart, whose frontiers were not to be passed, matchless in substance. Eagerly collecting the infrequent periodicals in which articles on him and his work had appeared, I had learned that it was only recently that he had begun to paint landscapes and still life, and that he had started with mythological subjects (I had seen photographs of two of these in his studio), and had then been for long under the influence of Japanese art.