view, and represents her wearing her quasi masculine redingote, with broad revers and loosely-knotted silk neck-tie. Of somewhat later date is a highly interesting drawing by Calamatta, well-known by engravings; but of George Sand in her first youth no likeness unfortunately has been left to the world. She has been most diversely described by her different contemporaries. But that at this time she possessed real beauty is perfectly evident; for all that she denies it herself, and that, unlike most women, and nearly all French-women, she scorned to enhance it by an elaborated toilette. Heine, though he never professed himself one of her personal adorers, compares the beauty of her head to that of the Venus of Milo, saying, "It bears the stamp of ideality, and recalls the noblest remaining examples of Greek art." Her figure was somewhat too short, but her hands and feet were very small and beautifully shaped. His acquaintance with her dates from the early years of her literary triumphs, and his description is in harmony with Calamatta's presentation. She had dark curling hair, a beauty in itself, falling in profusion to her shoulders, well-formed features, pale olive-tinted complexion, the countenance expressive, the eyes dark and very fine, not sparkling, but mild and full of feeling. The face reminds us of the character of "Still Waters," attributed to the Aurore Dupin of fifteen by the Lady Superior of the English convent. Her voice was soft and muffled, and the sim-
