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Rh "Mais, monsieur."

"Mais, mademoiselle, asseyez vous, et ne bougez pas—entendez-vous? jusqu' à ce qu'on vienne vous chercher, ou que je vous donne la permission."

"Quel triste coin!" cried I, "et quels laids tableaux!"

And "laids," indeed, they were; being a set of four, denominated in the catalogue "La vie d'une femme." They were painted rather in a remarkable style—flat, dead, pale and formal. The first represented a "Jeune Fille," coming out of a church-door, a missal in her hand, her dress very prim, her eyes cast down, her mouth pursed up—the image of a most villanous little precocious she-hypocrite. The second, a "Mariée" with a long white veil, kneeling at a prie-dieu in her chamber, holding her hands plastered together, finger to finger, and showing the whites of her eyes in a most exasperating manner. The third, a "Jeune Mère," hanging disconsolate over a clayey and puny baby with a face like an unwholesome full moon. The fourth, a "Veuve," being a black woman, holding by the hand a black little girl, and the twain studiously surveying an elegant French monument, set up in a corner of some Père la Chaise. All these four "Anges" were grim and