The poor creature was dumfounded; she had not foreseen the difficulty. Her head drooping over the left shoulder, her hands clasped in front of her, she stood still and silent as if overwhelmed by her disappointment. Touched and diverted by so much simplicity, and by way of distracting the poor, lovesick creature's grief, the painter handed her one of the soldiers he had drawn in water-colours and asked her if he was like that, her sweetheart in the Ardennes. She bent her doleful look on the sketch, and little by little her eye brightened, sparkled, flashed, and her moon face beamed out in a radiant smile. "It is his very likeness," she cried at last. "It is the very spit of Jules Ferrand, it is Jules Ferrand to the life." Before it occurred to the artist to take the sheet of paper out of her hands, she folded it carefully with her coarse red fingers into a tiny square, slipped it over her heart between her stays and her shift, handed the painter an _assignat_ for five livres, and wishing the company a very good day, hobbled light-heartedly to the door and so out of the room. III On the afternoon of the same day Evariste set out to see the _citoyen_ Jean Blaise, printseller, as well as dealer in ornamental boxes, fancy goods and games of all sorts, in the Rue Honore, opposite the Oratoire and near the office of the Messageries, at the sign of the _Amour peintre_. The shop was on the ground floor of a house sixty years old, and opened on the street by a vaulted arch the keystone of which bore a grotesque head with horns. The semicircle beneath the arch was occupied by an oil-painting representing "the Sicilian or Cupid the Painter," after a composition by Boucher, which Jean Blaise's father had put up in 1770 and which sun and rain had been doing their best to obliterate ever since. On either side of the door a similar arched opening, with a nymph's head on the keystone arch glazed with the largest panes to be got, exhibited for the benefit of the public the prints in vogue at the time and the latest novelties in coloured engravings. To-day's display included a series of scenes of gallantry by Boilly, treated in his graceful, rather stiff way, _Lecons d'amour conjugal_, _Douces resistances_ and the like, which scandalized the Jacobins and which the rigid moralists denounced to the Society of Arts, Debucourt's _Promenade publique_, with a dandy in canary-coloured breeches lounging on three chairs, a group of horses by the young Carle Vernet, pictures of air balloons, the _Bain de Virginie_ and figures after the antique. Amid the stream of citizens that flowed past the shop it was the raggedest figures that loitered longest before the two fascinating windows. Easily amused, delighting in pictures and bent on getting their share, if only through the eyes, of the good things of this world, they stood in open-mouthed admiration, whereas the aristocrats merely glanced in, frowned and passed on.