towards sincerity and emancipation were only to be commended as most noble, to judge by their visible result, one could still be thankful that they had failed to bear fruit in M. de Charlus, who had transferred to his own home much of the admirable panelling from the Guermantes house, instead of substituting, like his nephew, a "modern style" of decoration, employing Lebourg or Guillaumin. It was none the less true that M. de Charlus's ideal was highly artificial, and, if the epithet can be applied to the word ideal, as much social as artistic. In certain women of great beauty and rare culture whose ancestresses, two centuries earlier, had shared in all the glory and grace of the old order, he found a distinction which made him take pleasure only in their society, and no doubt the admiration for them which he had protested was sincere, but countless reminiscences, historical and artistic, called forth by their names, entered into and formed a great part of it, just as suggestions of classical antiquity are one of the reasons for the pleasure which a booklover finds in reading an Ode of Horace that is perhaps inferior to poems of our own day which would leave the same booklover cold. Any of these women by the side of a pretty commoner was for him what are, hanging beside a contemporary canvas representing a procession or a wedding, those old pictures the history of which we know, from the Pope or King who ordered them, through the hands of people whose acquisition of them, by gift, purchase, conquest or inheritance, recalls to us some event or at least some alliance of historic interest, and consequently some knowledge that we ourselves have acquired, gives it a fresh utility, increases our sense of the richness of the possessions of our memory or of our erudition. M. de Charlus might be thankful that a prejudice similar to his own, by preventing these several great ladies from mixing with women whose blood was less pure, presented them for his veneration unspoiled, in their unaltered nobility, like an eighteenth-century house-front supported on its flat column of pink marbles, in which the passage of time has wrought no change.