On the floor of bare tiles, coloured red and polished, there were merely
some little foot-mats in front of the various seats. And at sight of this
middle-class bareness and coldness Pierre ended by remembering a room
where he had slept in childhood--a room at Versailles, at the abode of
his grandmother, who had kept a little grocer's shop there in the days of
Louis Philippe. However, he became interested in an old painting which
hung in the bed-room, on the wall facing the bed, amidst some childish
and valueless engravings. But partially discernible in the waning light,
this painting represented a woman seated on some projecting stone-work,
on the threshold of a great stern building, whence she seemed to have
been driven forth. The folding doors of bronze had for ever closed behind
her, yet she remained there in a mere drapery of white linen; whilst
scattered articles of clothing, thrown forth chance-wise with a violent
hand, lay upon the massive granite steps. Her feet were bare, her arms
were bare, and her hands, distorted by bitter agony, were pressed to her
face--a face which one saw not, veiled as it was by the tawny gold of her
rippling, streaming hair. What nameless grief, what fearful shame, what
hateful abandonment was thus being hidden by that rejected one, that
lingering victim of love, of whose unknown story one might for ever dream
with tortured heart? It could be divined that she was adorably young and
beautiful in her wretchedness, in the shred of linen draped about her
shoulders; but a mystery enveloped everything else--her passion, possibly
her misfortune, perhaps even her transgression--unless, indeed, she were
there merely as a symbol of all that shivers and that weeps visageless
before the ever closed portals of the unknown. For a long time Pierre
looked at her, and so intently that he at last imagined he could
distinguish her profile, divine in its purity and expression of
suffering. But this was only an illusion; the painting had greatly
suffered, blackened by time and neglect; and he asked himself whose work
it might be that it should move him so intensely. On the adjoining wall a
picture of a Madonna, a bad copy of an eighteenth-century painting,
irritated him by the banality of its smile.

Night was falling faster and faster, and, opening the sitting-room
window, Pierre leant out. On the other bank of the Tiber facing him arose
the Janiculum, the height whence he had gazed upon Rome that morning