For ourselves, while on the whole inclined to endorse the high opinion which Michelet and M. Larroumet have formed of Coypel's portrait, we cannot but think that the latter has unduly depreciated that by Fontaine, which appears to us both pleasing and natural. However that may be, the two portraits, in all essential respects, are far from dissimilar, and as they accord well with the descriptions of the actress given by contemporary writers, we see no reason to doubt the fidelity of either. In both we find a high forehead, fine eyes, a slightly aquiline nose, a well-shaped mouth, with the rather prominent lower lip which recalls the portraits of princesses of the House of Austria, and a rounded chin; in a word, the features of a very pretty woman. In default of portraits painted or engraved, Adrienne's beauty would be amply attested by her contemporaries. Not that the testimony in her favour is altogether unanimous, as M. Paléologue rather boldly asserts; to expect unanimity in regard to the appearance of a celebrated actress, whose triumphs must of necessity arouse envy and jealousy in many quarters, would be as unreasonable as to look for a general appreciation of her dramatic talent. But the number of those who decline to admit her attractiveness is very small, and not above suspicion of prejudice, while the evidence to the contrary is abundant and authoritative. "Without being tall," wrote, in 1719, the author of _Les Lettres historiques sur tous les spectacles de Paris_, "she is very well made, and has an air of distinction, which prepossesses one in her favour; no one in the world has more charms. Her eyes speak as much as her mouth, and often supply the place of her voice. In short, I cannot do better than compare her to a miniature, since she has agreeableness, finesse, and delicacy." The _Mercure_ confirms this portrait: "Mlle. Lecouvreur was about the middle height and admirably formed, with a noble and confident air, a well-poised head and shapely shoulders, eyes full of fire, a pretty mouth, a slightly aquiline nose, and very pleasing manners; although not plump, her face was somewhat full, with features admirably adapted to express sorrow, joy, tenderness, fear, and pity."[65] * * * * * Nature, besides endowing Adrienne with beauty, had given her an exceedingly susceptible heart. Her letters, published some years ago by M. Georges Monval, though, with one or two exceptions, none of them can be said to come within the category of love-letters, reveal an ardent and imperious need of loving and being loved. "_Que faire au monde sans aimer?_" she writes to one of her friends; and these words might very well have been taken as her motto.