Next to the supreme question of eyes we hear most about Gillian's "blonde head," and her "flaxen head," her "flax head," her "bowed flax head," her "tossed head," her "wilful head," her "fair head," and her "well-poised head," while to match these maidenly attributes she has a "fair Sphinx face," a "tragic pale face," a "serious face," a "humiliated white face," a "flaming face," a "hotly-flushed face," a "sweetly apologetic face," and a "flower-textured face." Moreover, being a very remarkable girl, she is endowed with a "severe young figure," and a "gracious figure," whatever that may mean, while her "lily-fair" and "delicate-cold" hands have "satiny backs," and are "small and capable" as well. She is never merely pretty like other women, but she has "ripe June beauty." and a "robust yet delicate beauty." If she loses her temper, which happens rather often in the course of the story, she manifests the same by the "red scorn of her look," or by her "beautiful vexed eyes," which resemble a "sudden angry gray arrow,"--imagine an angry gray arrow,--or by "flaming out into crimson anger," or "with wreathed neck and flaming cheek," or "with enkindled eye and vermeil cheek," both of which expressions we would recommend to lovers of simplicity. If she is sad, however, she "lifts the drowned stars of her impatient, suffering eyes," or lowers them with a "moist look;" or she strays in "confused red misery," or in a "passionate scarlet hurry," which is as extraordinary in its way as an angry gray arrow. When her father dies, she stands "long and craped," with a "black elbow" resting on the chimney-place; while her various methods of blushing take up half the volume. Never, indeed, was there a heroine who blushed so much about so little. Sometimes it is merely a matter of "flaming cheeks," or of the "young roses of her cheeks," or of the "mortified carmine of her cheeks," or of her "hot bloom," or of her "beautiful hot red roses." Sometimes it is the "deep color of mingled shame and joy;" while on more especial occasions we are assured that her face is "made all of poppies," that it "changes from poppy-color to milk, and back from milk to poppy-color," that it "keeps shifting from frightened white to mortified red, and back again," and, better than all, that "cheek and chin and pearl-fair throat grow all one rose-red flame," with which triumph of compound adjectives we will close our quotations, only remarking that Gillian's blushing chin rivals the achievement of Ursula in "John Halifax," who, we are gravely told, colored over her throat, neck, and arms. All honor to the lady Olivia, who has taught us how to make a rational inventory of a woman's charms! "Item, two lips indifferent red; item, two gray eyes with lids to them; item, one neck, one chin, and so forth." To these let us add, item, one blush indifferent rosy, and then have done with the subject forever. A.R. * * * * * LITERATURE OF THE DAY.