It seemed to her as if all her happy illusions were taking wing, like the group of amorini which flew away from a weeping nymph on the ceiling of her room, which had been painted by Bourgereau. They were seated in one of her own apartments, a very bower of primroses and white lilac, panelled in the Louis Seize style, with Bourgereau's charming children in groups within each panel above the satin couches. Between the curtains, there were glimpses through the windows of the cedars and wellingtonias of the gardens. Without, it was a chilly winter's day, but within, it was warm as summer, mellow with soft colour, fragrant with innumerable flowers; even to this great hotel of the Boulevard S. Germain, which had always seemed to Othmar the most oppressive and detestable of all his many mansions, the advent of Yseulte had brought a grace and light and sweetness as of young and innocent life, a charm of home to these splendid and desolate suites of rooms. Her dogs lay on the hearth, her voice called the peacocks in the lonely gardens, her scores of Beethoven and Schubert and Berlioz lay open on the grand pianos. Even the look of the great bouquets in the Japanese bowls and the jars of Saxe and Sèvres was different: her hand had added a rose there, a fern here; they were flowers which were there because she loved them, not only because they served for decorations grouped by skilful servants as mere masses of colour. The great house, sombre in its Bourbon stateliness, magnificent in its architecture, but oppressive in its too continual display of wealth, was no longer 'une maison sans musique, une ruche sans abeilles;' it had gained a charm which was none the less perceptible because undefinable and impalpable, as the scent of the tea-roses in the tall Sèvres jars. But Friederich Othmar was more sensible of this than was the possessor of the house and of her. Friederich Othmar, who had lived for fifty years and more without perceiving that he had never had, or wished to have, a home, perceived that his nephew had one and scarcely appreciated it. Friederich Othmar himself became suddenly alive to the pleasure of finding something home-like in that corner of her boudoir where she drew a Japanese screen between him and the draught from the windows, brought him his cup of green tea, and listened with an interest fresh and unfeigned to his anecdotes, his reminiscences, and his counsels: but he found Othmar there less often than he would have wished.