When she came to D, and it wasn’t D, she grew very much excited; when she came to C, and it wasn’t C, she was still more nervous; when she came to B, and it wasn’t B, “Oh, dearest Gruffanuff,” she said, “lend me your smelling-bottle!” and, hiding her head in the Countess’s shoulder, she faintly whispered, “Ah, Signor, can it be A?”
“It was A; and though I may not, by my Royal Master’s orders, tell your Royal Highness the Princess’s name, whom he fondly, madly, devotedly, rapturously loves, I may show you her portrait,” says the slyboots: and, leading the Princess up to a gilt frame, he drew a curtain which was before it.
Oh goodness! the frame contained a looking-glass! and Angelica saw her own face!
VII.
how giglio and angelica had a quarrel.
The Court Painter of his Majesty the King of Crim Tartary returned to that monarch’s dominions, carrying away a number of sketches which he had made in the Paflagonian capital (you know, of course, my dears, that the name of that capital is Blombodinga); but the most charming of all his pieces was a portrait of the Princess Angelica, which all the Crim Tartar nobles came to see. With this work the King was so delighted, that he decorated the Painter with his Order of the Pumpkin (sixth class), and the artist became Sir Tomaso Lorenzo, K.P., thenceforth.
King Valoroso also sent Sir Tomaso his Order of the Cucumber, besides a handsome order for money; for he painted the King, Queen, and principal nobility while at Blombodinga, and became all the fashion, to the perfect rage of all the artists in Paflagonia, where the King used to point to the portrait of Prince Bulbo, which Sir Tomaso had left behind him, and say, “Which among you can paint a picture like that?”
It hung in the royal parlor over the royal sideboard, and Princess Angelica could always look at it as she sat making the tea. Each day it seemed to grow handsomer and handsomer, and the Princess grew so fond of looking at it, that
