Published online by Cambridge University Press: 11 April 2021
IT was quite by half-past five—after the two men had been together in Mme. de Vionnet's drawing-room not more than a dozen minutes—that Chad, with a look at his watch and then another at their hostess, said genially, gaily, “I’ve an engagement, and I know you won't complain if I leave him with you. He’ll interest you immensely; and as for her,” he declared to Strether, “I assure you, if you’re at all nervous, she's perfectly safe.”
He had left them to be embarrassed or not by this guarantee, as they could best manage, and embarrassment was a thing that Strether was at first not sure Mme. de Vionnet escaped. He escaped it himself, to his surprise; but he had grown used by this time to thinking of himself as brazen. She occupied, his hostess, in the Rue de Bellechasse, the first floor of an old house to which our visitors had had access from an old clean court. The court was large and open, full of revelations, for our friend, of the habit of privacy, the peace of intervals, the dignity of distances and approaches; the house, to his restless sense, was in the high, homely style of an elder day, and the ancient Paris that he was always looking for—sometimes intensely felt, sometimes more acutely missed—was in the immemorial polish of the wide waxed staircase and in the fine boiseries, the medallions, mouldings, mirrors, great clear spaces, of the grayish-white salon into which he had been shown. He seemed to see her, at the outset, in the midst of possessions not vulgarly numerous, but hereditary, cherished, charming. While his eyes, after a little, turned from those of his hostess and Chad freely talked—not in the least about him, but about other people, people he didn't know, and quite as if he did know them—he found himself making out, as a background of the occupant, some glory, some prosperity of the first Empire, some Napoleonic glamour, some dim lustre of the great legend; elements clinging still to all the consular chairs and mythological brasses and sphinxes’ heads and faded surfaces of satin striped with alternate silk.
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