or exertion of body. She was above the middle height, finely formed, and slender. It was sometimes, indeed, objected that her shape was too masculine the shoulders a trifle too square and the hips too small for a woman. These are, after all, matters of taste; she would not have been thought amiss in ancient Athens. All witnesses agree in describing her charm as lying largely in movement, in vivacity, in a sense of suppressed force trying to break out, or (as Mr. Williamson puts it) of "tremendous driving power."
The personality seems to stand out fairly distinct from these descriptions, and we need the less regret that a second picture, known to have been painted soon after her arrival in Kravonia, has perished either through carelessness or (more probably) by deliberate destruction; there were many in Kravonia not too anxious that even a counterfeit presentment of the famous "Red Star" and its wearer should survive. It would carry its memories and its reproach.
"The Red Star!" The name appears first in a letter of the Paris period—one of the few which are in existence. Its invention is attributed by Sophy to her friend the Marquis de Savres (of whom we shall hear again). He himself used it often. But of the thing we hear very early—and go on hearing from time to time. Sophy at first calls it "my mark," but she speedily adopts Monsieur le Marquis's more poetical term, and by that description it is known throughout her subsequent career. The polite artist of the 'sixties shirked it altogether by giving a half-profile view of his subject, thus not showing the left cheek where the "star" was situated.
It was, in fact, a small birth-mark, placed just below the cheek-bone, almost round, yet with a slightly indented outline. No doubt a lover (and M. de Savres was
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