In Search of Lost Time, Volume I_ Swann's Way - Marcel Proust [54]
And so I no longer went into the little sitting-room (now kept shut) of my uncle Adolphe; instead, after hanging about on the outskirts of the back-kitchen until Françoise appeared on its threshold and announced: “I’m going to let my kitchen-maid serve the coffee and take up the hot water; it’s time I went off to Mme Octave,” I would then decide to go indoors, and would go straight upstairs to my room to read. The kitchen-maid was an abstract personality, a permanent institution to which an invariable set of functions assured a sort of fixity and continuity and identity throughout the succession of transitory human shapes in which it was embodied; for we never had the same girl two years running. In the year in which we ate such quantities of asparagus, the kitchen-maid whose duty it was to prepare them was a poor sickly creature, some way “gone” in pregnancy when we arrived at Combray for Easter, and it was indeed surprising that Françoise allowed her to run so many errands and to do so much work, for she was beginning to find difficulty in bearing before her the mysterious basket, fuller and larger every day, whose splendid outline could be detected beneath the folds of her ample smock. This last recalled the cloaks in which Giotto shrouds some of his allegorical figures, of which M. Swann had given me photographs. He it was who pointed out the resemblance, and when he inquired after the kitchen-maid he would say: “Well, how goes it with Giotto’s Charity?” And indeed the poor girl, whose pregnancy had swelled and stoutened every part of her, even including her face and her squarish, elongated cheeks, did distinctly suggest those virgins, so sturdy and mannish as to seem matrons rather, in whom the Virtues are personified in the Arena Chapel. And I can see now that those Virtues and Vices of Padua resembled her in another respect as well. For just as the figure of this girl had been enlarged by the additional symbol which she carried before her, without appearing to understand its meaning, with no awareness in her facial expression of its beauty and spiritual significance, as if it were an ordinary, rather heavy burden, so it is without any apparent suspicion of what she is about that the powerfully built housewife who is portrayed in the Arena Chapel beneath the label “Caritas,” and a reproduction of whose portrait hung upon the wall of my schoolroom at Combray, embodies that virtue, for it seems impossible that any thought of charity can ever have found expression in her vulgar and energetic face. By a fine stroke of the painter’s invention she is trampling all the treasures of the earth beneath her feet, but exactly as if she were treading grapes in a wine-press to extract their juice, or rather as if she had climbed on to a heap of sacks to raise herself higher; and she is holding out her flaming heart to God, or shall we say “handing