stings of conscience would be all the sharper.

So Cornelia knocked and entered, and the quiet, cool room in which her
sister lay seemed to glow and become enlivened by the joyous reflection
of her presence. Yet the effect of the room upon Cornelia was at least
as marked. She hushed herself, as it were, and tried, half
unconsciously, to adapt herself to the tone of her surroundings; for,
although her physical nature was sound and healthy, almost to
boisterousness, her perceptions remained very keen and delicate, and
occasionally rallied her upon the redundancy of her animal well-being
with something like reproof.

It was singular, with how few and how simple means was created the
impression of purity and repose that this chamber produced! It brought
to mind the pearly interior of a shell, and a fanciful person might have
listened for the sea-music whispering through. The walls were papered
with pale gray, relieved by a light pink tracery, and the white-muslin
curtains were set off by a pink lining. A bunch of wild-flowers and
grasses, which Cornelia had gathered that morning, and Sophie had
arranged, stood on the mantel-piece. There were four or five
pictures--one, a bass-relief of Endymion, deep asleep, yet conscious in
his dream that the moon is peeping shyly over his polished shoulder, had
been copied from a famous original by Sophie herself. She had painted it
in a pale-brown mezzotint, which was like nothing in nature, but seemed
suitable of all others for the embodiment of the classic fable. This
picture hung over the mantel-piece. Opposite Sophie's bed was an
illumination of the Lord's Prayer, with clear gold lettering, and
capitals and border of celestial colors. The dressing-table was covered
with a white cloth, on which reposed a comb and brush and a pink
pin-cushion with a muslin cover, and over which hung a crayon of the