which, as yet, no just warrant had been given. Besides these two novels, containing full proof of her genius, if not of its highest employment, there appeared, late in 1832, that remarkable novelette, _La Marquise_, revealing fresh qualities of subtle penetration and clear analysis. The flexibility of her imagination, the variety in her modes of its application, form an essential characteristic of her work. Not by any single novel, nor, indeed by half-a-dozen taken at random, can she be adequately represented. When in the winter of 1832 Madame Sand returned with her little girl to Paris after spending the autumn, as usual, at Nohant, it was to rather more comfortable quarters, on the Quai Malplaquet. The rapid sale of her books was placing her in comparatively easy circumstances, and giving fresh spur to her activity. But her situation was transforming itself fast; the freedom of obscurity was lost to her for ever from the day when the unknown personage, George Sand, became the object of general curiosity--of curiosity redoubled in Paris by the rumors current there of her exceptional position, eccentric habits, and interesting personality. The celebrated portrait of her by Eugene Delacroix was painted in the year 1833. It is a three-quarter 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 simplicity of her manner has been remarked on by those who sought her acquaintance, as a particular charm. Yet, like all reserved natures, she often failed to attract strangers at a first meeting. In general conversation she