described, she could not fail of commanding love; but so far was she
from courting it, that she was scrupulously nice with respect to those
whose merit might entitle them to form any pretensions to her.'

Born in 1641, Elizabeth--for such was the Christian name of this lovely
and admirable woman--was scarcely in her twentieth year when she first
appeared at Whitehall. Sir Peter Lely was at that time painting the
Beauties of the Court, and had done full justice to the intellectual and
yet innocent face that riveted De Grammont. He had depicted her with her
rich dark hair, of which a tendril or two fell on her ivory forehead,
adorned at the back with large pearls, under which a gauze-like texture
was gathered up, falling over the fair shoulders like a veil: a full
corsage, bound by a light band either of ribbon or of gold lace,
confining, with a large jewel or button, the sleeve on the shoulder,
disguised somewhat the exquisite shape. A frill of fine cambric set off,
whilst in whiteness it scarce rivalled, the shoulder and neck.

The features of this exquisite face are accurately described by De
Grammont, as Sir Peter has painted them. 'The mouth does not smile, but
seems ready to break out into a smile. Nothing is sleepy, but everything
is soft, sweet, and innocent in that face so beautiful and so beloved.'

Whilst the colours were fresh on Lely's palettes, James Duke of York,
that profligate who aped the saint, saw it, and henceforth paid his
court to the original, but was repelled with fearless _hauteur_. The
dissolute nobles of the court followed his example, even to the
'lady-killer' Jermyn, but in vain. Unhappily for La Belle Hamilton, she
became sensible to the attractions of De Grammont, whom she eventually
married.