Henry wandered through the gardens of the Luxembourg, debating with himself if he should apply to the young artists whose addresses he held in his hand. Fearing that his new efforts might be equally unsuccessful, he was trying to nerve himself to encounter fresh refusals, when he was accosted by a boy of his own age, his fellow-student at the drawing-school. Jules proposed that they should walk together; then observing Henry's sadness, he asked him the cause. Henry told him of his mother's desire; their master's refusal to take the portrait; and of his own dislike to apply to those young artists, who were strangers to him. "Come with me," cried Jules, when his friend had ceased speaking. "My sister is also an artist: she has always taken care of me, for our father and mother died when we were both very young. She is so kind and so fond of me, that I am very sure she will not refuse." The two boys traversed the Avenue de l'Observatoire, the merry, joyous face of the one contrasting with the sadness and anxiety of the other. When they got to the end of the avenue they entered the Rue de l'Ouest, and went into a quiet-looking house, up to the fourth story of which Jules mounted with rapid steps, dragging poor Henry with him. He tapped gayly at a little door, which a young servant opened: he passed through the ante-chamber, and the two boys found themselves in the presence of Emily d'Orbe, the sister of Jules. She appeared to be about twenty-five: she was not tall, and her face was rather pleasing than handsome; yet her whole appearance indicated cultivation and amiability. Her dress was simple, but exquisitely neat; her gown of brown stuff fitted well to her graceful figure; her linen cuffs and collar were of a snowy whiteness; her hair was parted in front, and fastened up behind _à l'antique_: but she wore no ribbon, no ornament--nothing but what was necessary. The furniture of the room, which served at the same time as a sitting-room and studio, was equally simple: a little divan, some chairs, and two arm-chairs covered with gray cloth, a round table, a black marble time-piece of the simplest form; two engravings, the "Spasimo di Sicilia" and the "Three Maries," alone ornamented the walls; green blinds were placed over the windows, not for ornament, but to moderate the light, according to the desire of the artist; finally, three easels, on which rested some unfinished portraits, and a large painting representing Anna Boleyn embracing her daughter before going to execution. When he entered, little Jules went first to embrace his sister; she tenderly returned his caresses, then said to him in a gentle voice, as she returned to her easel: "Now, my dear child, let me go on with my painting;" not, however, without addressing a friendly "Good-morning" to Henry, who, she thought, had come to play with Jules.