were so perfect; and foreigners, even such as are ungraceful in domestic privacy, seem to possess the art of appearing graceful in public: however blunt and boisterous those every-day and home movements connected with peignoir and papillotes, there is a slide, a bend, a carriage of the head and arms, a mien of the mouth and eyes, kept nicely in reserve for gala use—always brought out with the grande toilette, and duly put on with the "parure."
Some fine forms there were here and there, models of a peculiar style of beauty; a style, I think, never seen in England: a solid, firm-set, sculptural style. These shapes have no angles: a caryatid in marble is almost as flexible; a Phidian goddess is not more perfect in a certain still and stately sort. They have such features as the Dutch painters give to their madonnas: low-country classic features, regular but round, straight but stolid; and for their depth of expressionless calm, of passionless peace, a polar snow-field could alone offer a type. Women of this order need no ornament, and they seldom wear any; the smooth hair, closely braided, supplies a sufficient contrast to the smoother cheek and brow; the dress cannot be too simple; the
