le continuation of the forehead, with which it
blends in a most delicious line. It is perfectly white from its spring
to its tip, and the tip is endowed with a sort of mobility which does
marvels if Camille is indignant, or angry, or rebellious. There, above
all, as Talma once remarked, is seen depicted the anger or the irony
of great minds. The immobility of the human nostril indicates a
certain narrowness of soul; never did the nose of a miser oscillate; it
contracts like the lips; he locks up his face as he does his money.

Camille's mouth, arching at the corners, is of a vivid red; blood
abounds there, and supplies the living, thinking oxide which gives such
seduction to the lips, reassuring the lover whom the gravity of that
majestic face may have dismayed. The upper lip is thin, the furrow
which unites it with the nose comes low, giving it a centre curve which
emphasizes its natural disdain. Camille has little to do to express
anger. This beautiful lip is supported by the strong red breadth of its
lower mate, adorable in kindness, swelling with love, a lip like the
outer petal of a pomegranate such as Phidias might have carved, and
the color of which it has. The chin is firm and rather full; but it
expresses resolution and fitly ends this profile, royal if not divine.
It is necessary to add that the upper lip beneath the nose is lightly
shaded by a charming down. Nature would have made a blunder had she
not cast that tender mist upon the face. The ears are delicately
convoluted,--a sign of secret refinement. The bust is large, the waist
slim and sufficiently rounded. The hips are not prominent, but very
graceful; the line of the thighs is magnificent, recalling Bacchus
rather than the Venus Callipyge. There we may see the shadowy line of
demarcation which separates nearly every woman of genius from her sex;
there such women are found to have a certain vague similitude to man;
they have neither the suppleness nor the soft abandonment of those whom
Nature destines for maternity; their gait is not broken by faltering
motions. This observation may be called bi-lateral; it has its
counterpart in men, whose thighs are those of women when they are sly,
cunning, false, and cowardly. Camille's neck, instead of curving inward
at the nape, curves out in a line that unites the head to the shoulders
without sinuosity, a most signal characteristic of force. The neck
itself presents at certain moments an athletic magnificence. Th