gathered around him had no existence for him. His head was thrown far
back, pressing down the stiff ruff, on which it seemed to rest as if it
were a platter. The fair-haired man's well-cut features wore the rigid,
lifeless expression of a mask. The mouth and nostrils were slightly
contracted, as if they shrank from breathing the same air with other
human beings.

The monarch's face remained unmoved, while receiving the Pope's legates
and the ambassadors from the republic of Venice. When Moor was led
before him, a faint smile was visible beneath the soft, drooping
moustache and close-shaven beard on the cheeks and chin; the prince's
dull eyes also gained some little animation.

The day after the reception a bell rang in the studio, which was cleared
of all present as quickly as possible, for it announced the approach of
the king, who appeared entirely alone and spent two whole hours with
Moor.

All these marks of distinction might have turned a weaker brain, but
Moor received them calmly, and as soon as he was alone with Ulrich or
Sophonisba, appeared no less unassuming and kindly, than at Emmendingen
and on the journey through France.

A week after taking possession of the apartments in the treasury, the
servants received orders to refuse admittance to every one, without
distinction of rank or person, informing them that the artist was engaged
in working for His Majesty.

Sophonisba Anguisciola was the only person whom Moor never refused to
see. He had greeted the strange girl on his arrival, as a father meets