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 defile.
But at this moment on the grass among the rose-petals, Daniel Deronda was making a first acquaintance with those griefs. A new idea had entered
