Save at these moments of involuntary relaxation, in which Swann essayed to recapture the melancholy cadence of Botticelli, Odette seemed now to be cut out in a single figure, wholly confined within a line which, following the contours of the woman, had abandoned the winding paths, the capricious re-entrants and salients, the radial points, the elaborate dispersions of the fashions of former days, but also, where it was her anatomy that went wrong by making unnecessary digressions within or without the ideal circumference traced for it, was able to rectify, by a bold stroke, the errors of nature, to make up, along a whole section of its course, for the failure as well of the human as of the textile element. The pads, the preposterous “bustle” had disappeared, as well as those tailed corsets which, projecting under the skirt and stiffened by rods of whalebone, had so long amplified Odette with an artificial stomach and had given her the appearance of being composed of several incongruous pieces which there was no individuality to bind together. The vertical fall of fringes, the curve of trimmings had made way for the inflection of a body which made silk palpitate as a siren stirs the waves, gave to cambric a human expression now that it had been liberated, like a creature that had taken shape and drawn breath, from the long chaos and nebulous envelopment of fashions at length dethroned. But