overing the
back of the neck; tiny curls fluttered around her ears and harmonized
admirably with the lovely, mischievous expression of the mouth, that won
all hearts. To paint the intelligent brown eyes was no easy matter, and
she requested Ulrich to be careful about her small, rather prominent
chin, which was anything but beautiful, and not make her unusually high,
broad forehead too conspicuous; she had only put on the pearl diadem to
relieve it.

The young artist set about this task with fiery impetuosity, and the
first sketch surpassed all expectations.

Don Fabrizio thought the picture "startlingly" like the original. Moor
was not dissatisfied, but feared that in the execution his pupil's work
would lose the bold freshness, which lent it a certain charm in his eyes,
and was therefore glad when the bell rang, and soon after the king
appeared, to whom he intended to show Ulrich's work.

Philip had not been in the studio for a long time, but the artist had
reason to expect him; for yesterday the monarch must have received his
letter, requesting that he would graciously grant him permission to leave
Madrid.

Moor had remained in Spain long enough, and his wife and child were
urging his return. Yet departure was hard for him on Sophonisba's
account; but precisely because he felt that she was more to him than a
beloved pupil and daughter, he had resolved to hasten his leave-taking.

All present were quickly dismissed, the bolts were drawn and Philip
appeared.

He looked paler than usual, worn and weary.

Moor greeted him respectfully, saying: "It is long since Your Majesty has
visited the treasury."

"Not 'Your Majesty;' to you I am Philip," replied the king. "And you wish
to leave me, Antonio! Recall your letter! You must not go now."

The sovereign, without waiting for a reply, now burst into complaints
about the tiresome, oppressive duties of his office, the incapacity of
the magistrates, the selfishness, malice and baseness of men. He lamented
that Moor was a Netherlander, and not a Spaniard, called him the only
friend he possessed among the rebellious crew in Holland and Flanders,
and stopped him when he tried to intercede for his countrymen, though
repeatedly assuring him that he found in his society his best pleasure,
his only real recreation; Moor must stay, out of friendship, compassion
for him, a slave in the royal purple.

After the artist had promised not to speak of departure during the next
few