So saying, the duchess, a woman of medium height, but a little too stout, like all women over fifty who retain their beauty, rose and walked toward the group which surrounded Diane de Maufrigneuse, stepping daintily on little feet that were as slender and nervous as a deer’s.  Beneath her plumpness could be seen the exquisite delicacy of such women, which comes from the vigor of their nervous systems controlling and vitalizing the development of flesh.  There is no other way to explain the lightness of her step, and the incomparable nobility of her bearing.  None but the women whose quarterings begin with Noah know, as Eleonore did, how to be majestic in spite of a buxom tendency.  A philosopher might have pitied Philoxene, while admiring the graceful lines of the bust and the minute care bestowed upon a morning dress, which was worn with the elegance of a queen and the easy grace of a young girl.  Her abundant hair, still undyed, was simply wound about her head in plaits; she bared her snowy throat and shoulders, exquisitely modelled, and her celebrated hand and arm, with pardonable pride.  Modeste, together with all other antagonists of the duchess, recognized in her a woman of whom they were forced to say, “She eclipses us.”  In fact, Eleonore was one of the “grandes dames” now so rare.  To endeavor to explain what august quality there was in the carriage of the head, what refinement and delicacy in the curve of the throat, what harmony in her movements, and nobility in her bearing, what grandeur in the perfect accord of details with the whole being, and in the arts, now a second nature, which render a woman grand and even sacred,—­to explain all these things would simply be to attempt to analyze the sublime.  People enjoy such poetry as they enjoy that of Paganini; they do not explain to themselves the medium, they know the cause is in the spirit that remains invisible.

Madame de Chaulieu bowed her head in salutation of Helene and her aunt; then, saying to Diane, in a pure and equable tone of voice, without a trace of emotion, “Is it not time to dress, duchess?” she made her exit, accompanied by her daughter-in-law and Mademoiselle d’Herouville.  As she left the room she spoke in an undertone to the old maid, who pressed her arm, saying, “You are charming,”—­which meant, “I am all gratitude for the service you have just done us.”  After that, Mademoiselle d’Herouville returned to the salon to play her part of spy, and her first glance apprised Canalis that the duchess had made him no empty threat.  That apprentice in diplomacy became aware that his science was not sufficient for a struggle of this kind, and his wit served him to take a more honest position, if not a worthier one.  When Ernest returned, bringing Modeste’s handkerchief, the poet seized his arm and took him out on the terrace.