because, as she owned, she wanted his liberation to coincide
with hers.

The lady who was to represent, in the impending struggle,
the forces of order and tradition was seated by the fire
when Darrow entered. Among the flowers and old furniture of
the large pale-panelled room, Madame de Chantelle had the
inanimate elegance of a figure introduced into a "still-
life" to give the scale. And this, Darrow reflected, was
exactly what she doubtless regarded as her chief obligation:
he was sure she thought a great deal of "measure", and
approved of most things only up to a certain point.
She was a woman of sixty, with a figure at once young and
old-fashioned. Her fair faded tints, her quaint corseting,
the passementerie on her tight-waisted dress, the velvet
band on her tapering arm, made her resemble a "carte de
visite" photograph of the middle sixties. One saw her,
younger but no less invincibly lady-like, leaning on a chair
with a fringed back, a curl in her neck, a locket on her
tuckered bosom, toward the end of an embossed morocco album
beginning with The Beauties of the Second Empire.

She received her daughter-in-law's suitor with an affability
which implied her knowledge and approval of his suit.
Darrow had already guessed her to be a person who would
instinctively oppose any suggested changes, and then, after
one had exhausted one's main arguments, unexpectedly yield
to some small incidental reason, and adhere doggedly to her
new position. She boasted of her old-fashioned prejudices,
talked a good deal of being a grandmother, and made a show