"Shall we pass into the next room, sire?" said Saint-Aignan, opening the door to let his guests precede him. The king walked behind La Valliere, and fixed his eyes lingeringly and passionately upon her neck as white as snow, upon which her long fair ringlets fell in heavy masses. La Valliere was dressed in a thick silk robe of pearl gray color, with a tinge of rose, with jet ornaments, which displayed to greater effect the dazzling purity of her skin, holding in her slender and transparent hands a bouquet of heartsease, Bengal roses, and clematis, surrounded with leaves of the tenderest green, above which uprose, like a tiny goblet shedding perfumes, a Haarlem tulip of gray and violet tints, of a pure and beautiful species, which had cost the gardener five years' toil of combinations and the king five thousand francs. Louis had placed this bouquet in La Valliere's hand as he saluted her. In the room, the door of which Saint-Aignan had just opened, a young man was standing, dressed in a loose velvet coat, with beautiful black eyes and long brown hair. It was the painter; his canvas was quite ready, and his palette prepared for use. He bowed to La Valliere with that grave curiosity of an artist who is studying his model, saluted the king discreetly, as if he did not recognize him, and as he would, consequently, have saluted any other gentleman. Then, leading Mademoiselle de la Valliere to the seat which he had arranged for her, he begged her to sit down. The young girl assumed an attitude graceful and unrestrained, her hands occupied, and her limbs reclining on cushions; and in order that her gaze might not assume a vague or affected expression, the painter begged her to choose some kind of occupation, so as to engage her attention; whereupon, Louis XIV., smiling, sat down on the cushions at La Valliere's feet; so that she, in the reclining posture she had assumed, leaning back in the armchair, holding her flowers in her hand, and he, with his eyes raised toward her and fixed devouringly on her face--they, both together, formed so charming a group, that the artist contemplated it with professional delight; while, on his side, Saint-Aignan regarded them with feelings of envy. The painter sketched rapidly; and very soon, beneath the earliest touches of the brush, there started into life, out of the gray background, the gentle, poetry-breathing face, with its soft calm eyes and delicately-tinted cheeks, enframed in the masses of hair which fell about her neck. The lovers, however, spoke but little, and looked at each other a good deal; sometimes their eyes became so languishing in their gaze, that the painter was obliged to interrupt his work in order to avoid representing an Erycina instead of a La Valliere. It was on such occasions that Saint-Aignan came to the rescue, and recited verses, or repeated one of those little tales as Patru related them, and which Tallemant des Reaux wrote so cleverly. Or, it might be,