movement. There were some who said that she was almost snake-like in her rapid bendings and the almost too easy gestures of her body; for she was much given to action and to the expression of her thought by the motion of her limbs. She might certainly have made her way as an actress, had fortune called upon her to earn her bread in that fashion. And her voice would have suited the stage. It was powerful when she called upon it for power; but, at the same time, flexible and capable of much pretence at feeling. She could bring it to a whisper that would almost melt your heart with tenderness, as she had melted Sir Florian's, when she sat near to him reading poetry; and then she could raise it to a pitch of indignant wrath befitting a Lady Macbeth when her husband ventured to rebuke her. And her ear was quite correct in modulating these tones. She knew--and it must have been by instinct, for her culture in such matters was small--how to use her voice so that neither its tenderness nor its wrath should be misapplied. There were pieces in verse that she could read, things not wondrously good in themselves, so that she would ravish you; and she would so look at you as she did it that you would hardly dare either to avert your eyes or to return her gaze. Sir Florian had not known whether to do the one thing or the other, and had therefore seized her in his arms. Her face was oval--somewhat longer than an oval--with little in it, perhaps nothing in it, of that brilliancy of colour which we call complexion. And yet the shades of her countenance were ever changing between the softest and most transparent white and the richest, mellowest shades of brown. It was only when she simulated anger--she was almost incapable of real anger --that she would succeed in calling the thinnest streak of pink from her heart, to show that there was blood running in her veins. Her hair, which was nearly black, but in truth with more of softness and of lustre than ever belong to hair that is really black, she wore bound tight round her perfect forehead, with one long lovelock hanging over her shoulder. The form of her head was so good that she could dare to carry it without a chignon or any adventitious adjuncts from an artist's shop. Very bitter was she in consequence when speaking of the head-gear of other women. Her chin was perfect in its round--not over long, as is the case with so many such faces, utterly spoiling the symmetry of the countenance. But it lacked a dimple, and therefore lacked feminine tenderness. Her mouth was perhaps faulty in being too small, or, at least, her lips were too thin. There was wanting from the mouth that expression of eager-speaking truthfulness which full lips will often convey. Her teeth were without flaw or blemish, even, small, white, and delicate; but perhaps they were shown too often. Her nose was small, but struck many as the prettiest feature of her face, so exquisite was the moulding of it, and so eloquent and so graceful the slight inflations of the transparent nostrils. Her eyes, in which she herself thought that the lustre of her beauty lay, were blue and clear, bright as cerulean waters. They were long, large eyes, but very dangerous. To those who knew how to read a face, there was danger plainly written in them. Poor Sir Florian had not known. But, in truth, the charm of her face did not lie in her eyes. This was felt by many even who could not read the book fluently. They were too expressive, too loud in their demands for attention, and they lacked tenderness. How few there are among women, few perhaps also among men, who know that the sweetest, softest, tenderest, truest eyes which a woman can carry in her head are green in colour. Lizzie's eyes were not tender, neither were they true. But they were surmounted by the most wonderfully pencilled eyebrows that ever nature unassisted planted on a woman's face.