85 ADDITIONS. I. · THUS drawn, thus prominent, ought the countenance to be which the physiognomist is to read. Form and traits, all and each, are determinate.-Hard perhaps--but with all possible harmony. No false pretender; worthy, faithful, regular, benevolent. More than the dry hardness of the mouth betokens these. Such is this sanguine-phlegmatic countenance Capacity, love of order, resolution, fit for active life, sensation for the beautiful, the accurate, the highly finished. No artist, but very capable of being one. II. THE shade more significant than the full face, which has been composed, feature after feature, at various times, by the artist, who, without preserving the character, has thus destroyed the effect of the whole. Both however are expressive of a good, an honest, and an active man; but who, with eye actually so dull, could have but little penetration. The nose, in the shade, has more poe try, and the under part of the countenance more nobility, than are perceptible in the portrait. The mouth in the profile has peculiar youthful innocence. III. AN observing mind with a barren imagination. Thus ought every countenance of this character to be drawn, the eyes especially, in order to be known. The forehead too flat for an original thinker; receives much, produces little. Ardour and active industry are here sought in vain, but the love of inoffensive ridicule may be easily discovered. IV. THE original of this highly characteristic head-Colla-might probably have become one of the greatest physiognomonical painters. Though almost uninstructed he was one of the most original imitators of unimpassioned nature. The gloominess of his character, and even of his chamber, communicated that gloom which is visible in his paintings. The eye is not rapid, but disposed to a calm, successive, anatomizing inspection of its object. The unassuming mouth overflows with phlegmatic goodness. The whole, in general, is tinged with suscep |