Roger was struck by these words, spoken with the glad unrestraint that always carries a woman further than she intended, just as prudery often lends her greater cruelty than she feels. For the first time since that glance, which had, in a way, been the beginning of their friendship, Caroline and Roger had the same idea; though they did not express it, they felt it at the same instant, as a result of a common impression like that of a comforting fire cheering both under the frost of winter; then, as if frightened by each other’s silence, they made their way to the spot where the carriage was waiting. But before getting into it, they playfully took hands and ran together down the dark avenue in front of Madame Crochard. When they could no longer see the white net cap, which showed as a speck through the leaves where the old woman was--“Caroline!” said Roger in a tremulous voice, and with a beating heart. The girl was startled, and drew back a few steps, understanding the invitation this question conveyed; however, she held out her hand, which was passionately kissed, but which she hastily withdrew, for by standing on tiptoe she could see her mother. Madame Crochard affected blindness, as if, with a reminiscence of her old parts, she was only required to figure as a supernumerary. The adventures of these two young people were not continued in the Rue du Tourniquet. To see Roger and Caroline once more, we must leap into the heart of modern Paris, where, in some of the newly-built houses, there are apartments that seem made on purpose for newly-married couples to spend their honeymoon in. There the paper and paint are as fresh as the bride and bridegroom, and the decorations are in blossom like their love; everything is in harmony with youthful notions and ardent wishes. Half-way down the Rue Taitbout, in a house whose stone walls were still white, where the columns of the hall and the doorway were as yet spotless, and the inner walls shone with the neat painting which our recent intimacy with English ways had brought into fashion, there was, on the second floor, a small set of rooms fitted by the architect as though he had known what their use would be. A simple airy ante-room, with a stucco dado, formed an entrance into a drawing-room and dining-room. Out of the drawing-room opened a pretty bedroom, with a bathroom beyond. Every chimney-shelf had over it a fine mirror elegantly framed. The doors were crowded with arabesques in good taste, and the cornices were in the best style. Any amateur would have discerned there the sense of distinction and decorative fitness which mark the work of modern French architects.