mind. A charming old Italian writer has laid down the canons of perfect feminine beauty with much nicety in a delicious discourse, which, as he delivered it in a sixteenth-century Florentine garden to an audience of beautiful and noble ladies, an audience not too large to be intimate and not too small to be embarrassing, it was his delightful good fortune and privilege to illustrate by pretty and sly references to the characteristic beauties of the several ladies seated like a ring of roses around him. Thus he would refer to the shape of Madonna Lampiada's sumptuous eyelids, and to her shell-like ears, to the correct length and shape of Madonna Amororrisca's nose, to the lily tower of Madonna Verdespina's throat; nor would the unabashed old Florentine shrink from calling attention to the unfairness of Madonna Selvaggia's covering up her dainty bosom, just as he was about to discourse upon "those two hills of snow and of roses with two little crowns of fine rubies on their peaks."  How could a man lecture if his diagrams were going to behave like that! Then, feigning a tiff, he would close his manuscript, and all the ladies with their birdlike voices would beseech him with "Oh, no, Messer Firenzuola, please go on again; it's SO charming!" while, as if by accident, Madonna Selvaggia's moonlike bosom would once more slip out its heavenly silver, perceiving which, Messer Firenzuola would open his manuscript again and proceed with his sweet learning. 

 Happy Firenzuola! Oh, days that are no more! 

 By selecting for his illustrations one feature from one lady and another from another, Messer Firenzuola builds up an ideal of the Beautiful Woman, which, were she to be possible, would probably be as faultily faultless as the Perfect Woman, were she possible. 

 Moreover, much about the same time as Firenzuola was writing, Botticelli's blonde, angular, retrousse women were breaking every one of that beauty-master's canons, perfect in beauty none the less; and lovers then, and perhaps particularly now, have found the perfect beauty in faces to which Messer Firenzuola would have denied the name of face at all, by virtue of a quality which indeed he has tabulated, but which is far too elusive and undefinable, too spiritual for him truly to have understood,—a quality which nowadays we are tardily recognising as the first and last of all beauty, either of nature or art,—the supreme, truly divine, because materialistically unaccountable, quality of Charm! 

 "Beauty that makes holy earth and heaven May have faults from head to feet." 

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