"I scarcely know why I made this apology, since I had omitted to apologize to the other ladies, on whom I had ventured to intrude at abnormal hours. I fear that I was weak enough to feel bewildered by the pensive loveliness of the face at which I looked, and that my confidence ebbed away under the influence of those grave hazel eyes. "The face is so beautiful,—as beautiful now that I have learned the trick of every feature, though even now I cannot learn all the varying changes of expression which make it ever new to me, as it was that evening when it beamed on me for the first time. Shall I describe her,—the woman whom I have only known four weeks, and who seems to fill all the universe when I think of her?—and when do I not think of her? Shall I describe her for the New Zealander, when the best description must fall so far below the bright reality, and when the very act of reducing her beauty into hard commonplace words seems in some manner a sacrilege against the sanctity of that beauty? Yes, I will describe her; not for the sake of the New Zealander, who may have new and extraordinary ideas as to female loveliness, and may require a blue nose or pea-green tresses in the lady he elects as the only type of beautiful womanhood. I will describe her because it is sweet to me to dwell upon her image, and to translate that dear image, no matter how poorly, into words. Were I a painter, I should be like Claude Melnotte, and paint no face but hers. Were I a poet, I should cover reams of paper with wild rhapsodies about her beauty. Being only a cashier in a bank, I can do nothing but enshrine her in the commonplace pages of my diary. "I have said that she is pale. Hers is that ivory pallor which sometimes accompanies hazel eyes and hazel-brown hair. Her eyes are of that rare hazel, that soft golden brown, so rarely seen, so beautiful wherever they are seen. These eyes are unvarying in their colour; it is only the expression of them that varies with every emotion, but in repose they have a mournful earnestness in their look, a pensive gravity that seems to tell of a life in which there has been much shadow. The hair, parted above the most beautiful brow I ever looked upon, is of exactly the same colour as the eyes, and has a natural ripple in it. For the rest of the features I must refer my New Zealander to the pictures of the old Italian masters—of which I trust he may retain a handsome collection;—for only on the canvases of Signori Raffaello Sanzio d'Urbino, Titian, and the pupils who emulated them, will he find that exquisite harmony, that purity of form and tender softness of outline, which I beheld that summer evening in the features of Margaret Wentworth.