Natalie's waist was round,--a sign of strength, but also the
infallible indication of a will which becomes obstinacy in persons
whose mind is neither keen nor broad. Her hands, like those of a Greek
statue, confirmed the predictions of face and figure by revealing an
inclination for illogical domination, of willing for will's sake only.
Her eyebrows met,--a sign, according to some observers, which
indicates jealousy. The jealousy of superior minds becomes emulation
and leads to great things; that of small minds turns to hatred. The
"hate and wait" of her mother was in her nature, without disguise. Her
eyes were black apparently, though really brown with orange streaks,
contrasting with her hair, of the ruddy tint so prized by the Romans,
called auburn in England, a color which often appears in the offspring
of persons of jet black hair, like that of Monsieur and Madame
Evangelista. The whiteness and delicacy of Natalie's complexion gave
to the contrast of color in her eyes and hair an inexpressible charm;
and yet it was a charm that was purely external; for whenever the
lines of a face are lacking in a certain soft roundness, whatever may
be the finish and grace of the details, the beauty therein expressed
is not of the soul. These roses of deceptive youth will drop their
leaves, and you will be surprised in a few years to see hardness and
dryness where you once admired what seemed to be the beauty of noble
qualities.

Though the outlines of Natalie's face had something august about them,
her chin was slightly "empate,"--a painter's expression which will
serve to show the existence of sentiments the violence of which would
only become manifest in after life. Her mouth, a trifle drawn in,
expressed a haughty pride in keeping with her hand, her chin, her
brows, and her beautiful figure. And--as a last diagnostic to guide
the judgment of a connoisseur--Natalie's pure voice, a most seductive