Her wavy brown hair clung closely to the beautiful oval head, its heavy braids covering the back of the neck; tiny curls fluttered around her ears and harmonized admirably with the lovely, mischievous expression of the mouth, that won all hearts.

To paint the intelligent brown eyes was no easy matter, and she requested Ulrich to be careful about her small, rather prominent chin, which was anything but beautiful, and not make her unusually high, broad forehead too conspicuous; she had only put on the pearl diadem to relieve it.
The young artist set about this task with fiery impetuosity, and the first sketch surpassed all expectations.
Don Fabrizio thought the picture "startlingly" like the original.

Moor was not dissatisfied, but feared that in the execution his pupil's work would lose the bold freshness, which lent it a certain charm in his eyes, and was therefore glad when the bell rang, and soon after the king appeared, to whom he intended to show Ulrich's work.
Philip had not been in the studio for a long time, but the artist had reason to expect him; for yesterday the monarch must have received his letter, requesting that he would graciously grant him permission to leave Madrid.
Moor had remained in Spain long enough, and his wife and child were urging his return.

Yet departure was hard for him on Sophonisba's account; but precisely because he felt that she was more to him than a beloved pupil and daughter, he had resolved to hasten his leave-taking.
All present were quickly dismissed, the bolts were drawn and Philip appeared.
He looked paler than usual, worn and weary.
Moor greeted him respectfully, saying: "It is long since Your Majesty has visited the treasury." "Not 'Your Majesty;' to you I am Philip," replied the king.

"And you wish to leave me, Antonio! Recall your letter! You must not go now." The sovereign, without waiting for a reply, now burst into complaints about the tiresome, oppressive duties of his office, the incapacity of the magistrates, the selfishness, malice and baseness of men.