in magnificent perruques, and ladies of the prize-animal kind, with rosebud mouths and full eyelids, according to Lely; then a generation whose faces were revised and embellished in the taste of Kneller; and so on through refined editions of the family types in the time of Reynolds and Romney, till the line ended with Sir Hugo and his younger brother Henleigh. This last had married Miss Grandcourt, and taken her name along with her estates, thus making a junction between two equally old families, impaling the three Saracens' heads proper and three bezants of the one with the tower and falcons argent of the other, and, as it happened, uniting their highest advantages in the prospects of that Henleigh Mallinger Grandcourt who is at present more of an acquaintance to us than either Sir Hugo or his nephew Daniel Deronda.

In Sir Hugo's youthful portrait with rolled collar and high cravat, Sir Thomas Lawrence had done justice to the agreeable alacrity of expression and sanguine temperament still to be seen in the original, but had done something more than justice in slightly lengthening the nose, which was in reality shorter than might have been expected in a Mallinger. Happily the appropriate nose of the family reappeared in his younger brother, and was to be seen in all its refined regularity in his nephew Mallinger Grandcourt. But in the nephew Daniel Deronda the family faces of various types, seen on the walls of the gallery; found no reflex. Still he was handsomer than any of them, and when he was thirteen might have served as model for any painter who wanted to image the most memorable of boys: you could hardly have seen his face thoroughly meeting yours without believing that human creatures had done nobly in times past, and might do more nobly in time to come. The finest childlike faces have this consecrating power, and make us shudder anew at all the grossness and basely-wrought griefs of the world, lest they should enter here and def