Mademoiselle des Touches, a true Breton, is of medium height, though
she looks taller than she really is. This effect is produced by the
character of her face, which gives height to her form. She has that
skin, olive by day and dazzling by candlelight, which distinguishes a
beautiful Italian; you might, if you pleased, call it animated ivory.
The light glides along a skin of that texture as on a polished
surface; it shines; a violent emotion is necessary to bring the
faintest color to the centre of the cheeks, where it goes away almost
immediately. This peculiarity gives to her face the calm impassibility
of the savage. The face, more long than oval, resembles that of some
beautiful Isis in the Egyptian bas-reliefs; it has the purity of the
heads of sphinxes, polished by the fire of the desert, kissed by a
Coptic sun. The tones of the skin are in harmony with the faultless
modelling of the head. The black and abundant hair descends in heavy
masses beside the throat, like the coif of the statues at Memphis, and
carries out magnificently the general severity of form.
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