One had only to recall to mind the drawing room of the past, through which flitted the icy, ghostly presence of the Countess Muffat, that antique room full of an atmosphere of religious austerity with its massive First Empire mahogany furniture, its yellow velvet hangings, its moldy ceiling through which the damp had soaked.

Now from the very threshold of the entrance hall mosaics set off with gold were glittering under the lights of lofty candelabras, while the marble staircase unfurled, as it were, a delicately chiseled balustrade.

Then, too, the drawing room looked splendid; it was hung with Genoa velvet, and a huge decorative design by Boucher covered the ceiling, a design for which the architect had paid a hundred thousand francs at the sale of the Chateau de Dampierre.

The lusters and the crystal ornaments lit up a luxurious display of mirrors and precious furniture.

It seemed as though Sabine's long chair, that solitary red silk chair, whose soft contours were so marked in the old days, had grown and spread till it filled the whole great house with voluptuous idleness and a sense of tense enjoyment not less fierce and hot than a fire which has been long in burning up.
People were already dancing.