In Search of Lost Time

I was fond of churches, promised me that we should visit one one day and another another, and especially the church at Carqueville “quite buried in all its old ivy,” as she said with a wave of the hand which seemed tastefully to be clothing the absent front in an invisible and delicate screen of foliage. Mme. de Villeparisis would often, with this little descriptive gesture, find just the right word to define the attraction and the distinctive features of an historic building, always avoiding technical terms, but incapable of concealing her thorough understanding of the things to which she referred. She appeared to seek an excuse for this erudition in the fact that one of her father’s country houses, the one in which she had lived as a girl, was situated in a district in which there were churches similar in style to those round Balbec, so that it would have been unaccountable if she had not acquired a taste for architecture, this house being, incidentally, one of the finest examples of that of the Renaissance. But as it was also a regular museum, as moreover Chopin and Liszt had played there, Lamartine recited poetry, all the most famous artists for fully a century had inscribed “sentiments,” scored melodies, made sketches in the family album, Mme. de Villeparisis ascribed, whether from delicacy, good breeding, true modesty or want of intelligence, only this purely material origin to her acquaintance with all the arts, and had come, apparently, to regard painting, music, literature and philosophy as the appanage of a young lady brought up on the most aristocratic lines in an historic building that was catalogued and starred. You would have said, listening to her, that she knew of no pictures that were not heirlooms. She was pleased that my grandmother liked a necklace which she wore, and which fell over her dress. It appeared in the portrait of an ancestress of her own by Titian which had never left the family. So that one could be certain of its being genuine. She would not listen to a word about pictures bought, heaven knew where, by a Croesus, she was convinced before you spoke that they were forgeries, and had no desire to see them. We knew that she herself painted flowers in watercolour, and my grandmother, who had heard these praised, spoke to her of them. Mme. de Villeparisis modestly changed the subject, but without showing either surprise or pleasure more than would an artist whose reputation was established and to whom compliments meant nothing. She said merely that it was a delightful pastime because, even if the flowers that sprang from the brush were nothing wonderful, at least the work made you live in the company of real flowers, of the beauty of which, especially when you were obliged to study them closely in order to draw them, you could never grow tired. But at Balbec Mme. de Villeparisis was giving herself a holiday, so as to spare her eyes.

We were astonished, my grandmother and I, to find how much more “Liberal” she was than even the majority of the middle class. She did not understand how anyone could be scandalised by the expulsion of the Jesuits, saying that it had always been done, even under the Monarchy, in Spain even. She took up the defence of the Republic, and against its anti-clericalism had no more to say than: “I should be equally annoyed whether they prevented me from hearing Mass when I wanted to, or forced me to hear it when I didn’t!” and even startled us with such utterances as: “Oh! the aristocracy in these days, what does it amount to?” “To my mind, a man who doesn’t work doesn’t count!”⁠—perhaps only because she felt that they gained point and flavour, became memorable, in fact, on her lips.

When we heard these advanced opinions⁠—though never so far advanced as to amount to Socialism, which Mme. de Villeparisis held in abhorrence⁠—expressed so frequently and with so much frankness precisely by one of those people in consideration of whose intelligence our scrupulous and timid impartiality would refuse to condemn outright the ideas of the Conservatives, we came very near, my grandmother and I, to believing that in the pleasant companion of our drives was to be found the measure and the pattern of truth in all things. We took her word for it when she appreciated her Titians, the colonnade of her country house, the conversational talent of Louis-Philippe. But⁠—like those mines of learning who hold us spellbound when we get them upon Egyptian paintings or Etruscan inscriptions, and yet talk so tediously about modern work that we ask ourselves whether we have not been overestimating the interest of the sciences in which they are versed since there is not apparent in their treatment of them the mediocrity of mind which they must have brought to those studies just as much as to their fatuous essays on Baudelaire⁠—Mme. de Villeparisis, questioned by me about Chateaubriand, about Balzac, about Victor Hugo, each of whom had in his day been the guest of her parents, and had been seen and spoken to by her, smiled at my reverence, told amusing anecdotes of them, such as she had a moment ago been telling us of dukes and statesmen, and severely criticised those writers simply because they had been lacking in that modesty, that self-effacement, that sober art which is satisfied with a single right line, and lays no stress on it, which avoids more than anything else the absurdity of grandiloquence, in that opportuneness, those qualities of moderation, of judgment and simplicity to which she had been taught that real greatness aspired and attained: it was evident that she had no hesitation in placing above them men who might after all, perhaps, by virtue of those qualities, have had the advantage of a Balzac, a Hugo, a Vigny in a drawing-room, an academy, a cabinet council, men like Molé, Fontanes, Vitroles, Bersot, Pasquier,