Madame De Beaufoy, née Maria Goldingham, was a genial old lady, stout and somewhat helpless. Her daughter Agnes, with her grey hair and her fifty years, looked nearly double the age of Madame de Castella--she was some ten years older. They were not in the least alike, these sisters: the elder was plain, large-featured, eyes and complexion alike pale; Madame de Castella was a slight, small, delicate-featured woman, with rich brown eyes, and a bright rose-colour on her cheeks. To Mary Carr's surprise--for Adeline had never mentioned it--she saw that Miss de Beaufoy was lame. It was the result of an accident in infancy. On the morning following their arrival at Beaufoy, Adeline asked her grandmother if she knew whether M. d'Estival was at the Lodge, and was answered in the negative. He had come down from Paris with visitors, it was said; but had gone away again almost immediately, the old lady thought to Holland. "So much the better," remarked Adeline, "we can go as often as we like to his picture-gallery. You are fond of paintings, Mary; you will have a great treat, and you have a sort of right there. Suppose we go now?" "Now?" said Madame de Castella. "It is so hot!" "It will be hotter later in the day," said Adeline. "Do come with us, mamma." Somewhat unwillingly, Madame de Castella called for her scarf and bonnet to accompany them, casting many dubious glances at the cloudless sky and blazing sun. They took their way through the shrubbery; it was the longest road, but the most shady. And whilst they are walking, let us take a look at this said painting-room. It bore an indescribable appearance, partaking partly of the character and confusion of an artist's studio, partly of a gorgeous picture-gallery. The apartment was very long in proportion to its width, and was lighted by high windows, furnished with those green blinds, or shades, which enable artists to procure the particular light they may require. The room opened by means of glass doors upon a lovely pleasure-ground, but there were shutters and tapestry to draw before these doors at will, so that no light need enter by them. Opposite, at the other end of the room, a smaller door connected it with the house.