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AUGUSTUS III of Poland, Elector of Saxony (1696–1763): VI 107.

AUMALE, Henri d’Orléans, Duc d’, French general and historian, fourth son of Louis-Philippe (1822–97). Cottard’s euphemism for lavatory: I 372–73. M. Bloch père referred to as his double: II 480. The Guermantes visit him at Chantilly: III 35 (cf. 803–4). In a box at the Opéra: 43; frequents Mme de Villeparisis’s salon: 259. He and Princesse Mathilde brought together by Oriane: 642, 710. His liaison with Mme de Clin-champ: IV 672.

AVENEL, Vicomte Georges d’, French historian and economist (1855–1939): III 286.

BACH, Johann Sebastian, German composer (1685–1750). Conversation of the inhabitants of Françoise’s native village has the “unshakeable solidity of a Bach fugue”: IV 172. Charlus’s laugh and Bach’s “small high” trumpets: 463–64. Morel plays a Bach air and variations on a walk with the Verdurins: 584. A “sublime aria” by Bach: V 862.

BAGARD, César, sculptor and cabinet-maker from Nancy (1639–1709). Executed the panelling in the apartments of Mme de Villeparisis’s father in the Hotel de Bouillon: II 415, and in Charlus’s apartments: III 770.

BAKST, Léon, Russian painter and designer (1866–1924). His decors for the Ballets russes: II 718; IV 193; V 497. Andrée disapproves of his decoration of the Marquis de Polignac’s house: VI 108.

BALTHY, music-hall singer (1869–1925), whom Mme de Guermantes hesitates to cultivate, though finding her “adorable”: VI 109.

BALZAC, Honoré de, French novelist (1799–1850). His “tigers” now “grooms”: I 459. Disparaged by Mme de Villeparisis: II 394, 395, 412. Parodied by Saint-Loup: 418. “Adored” by the Duc de Guermantes, who attributes to him a novel by Dumas, Les Mohicans de Paris: III 673. Charlus “knows it all by heart”: 673. Discussed by Charlus with Vic-turnien Surgis-le-Duc, who has the same Christian name as d’Esgrignon in Le Cabinet des Antiques: IV 132. Charlus reads him in the little train: 594–97. The Baron’s favourite volumes of La Comédie humaine: 611. Discussed by Charlus and Brichot: 611–16. The Princesse de Cadignan: 617–19, 622–23. The Cambremers as Balzac characters: 668. Clothes of his heroines: V 34 (cf. IV 617–18). Retrospective unity of the Comédie humaine: 207–8. The “spoken newpaper” of Paris: 288. Construction of his novellas: 675. The marriage of Mile d’Oloron and the young Cambremer a “marriage from the end of a Balzac novel”: 893. Gilberte reads La Fille aux yeux d’or: VI 110. His genius, in spite of his vulgarity: 42.

BARBEDIENNE, Ferdinand, bronze founder (1810–92): IV 430; V 229–30.

BARBEY D’AUREVILLY, French novelist (1808–89): II 443; “key-phrases” in his work: V 506.

BARRERÉ, Camille, French diplomat, Ambassador in Rome from 1897 to 1924: V 863.

BARRÉS, Maurice, French writer (1862–1923): II 7. Swann revises his opinion of his work in the light of the Dreyfus Case, comparing him unfavourably to Clemenceau: III 799. His denunciation of parliamentary corruption: V 398. His views on art and the nation: VI 111.

BARRY, Mme du, mistress and favourite of Louis XV (1743–93): V 378, 496–97, 755; VI 112.

BARTOLOMMEO, Fra, Florentine painter (1469–1517). Mme Blatin resembles his portrait of Savonarola: II 147.

BAUDELAIRE, Charles, French poet (1821–67). Allusion to his poem L’Imprévu—the epithet “delicious” applied to the sound of the trumpet: I 251. Allusions to poems about the sea: II 343, 372, 391. The antithesis of the kind of writer approved of by Mme de Villeparisis and her like: 394, 418, and of Mme de Guermantes’s type of mind: III 689, 781 (cf. V 35). Mme de Cambremer quotes a line from L’Albatros: IV 289. Denounced by Brichot: 483. Quotation from Les Fleurs du Mal XLI (“like a dulcimer”): 521. Quoted by M on murder: V 511. Allusion to La Lune offensée—the “yellow and metallic” moon: 550–51. Saint-Loup quotes from Le Balcon: VI 113. M finds in his work reminiscences, transposed sensations, which for him are the foundation of art; quotations from La Chevelure and Parfum exotique: 335.

BEETHOVEN, Ludwig van (1770–1827). The Ninth Symphony one of Mme Verdurin