region, but expands genial warmth. Perfeverance in ftudy, and pertinacity, for centuries, in fixed principles, have raifed and maintained the British Ipirit, as well as the British government, trade, manufactures, and marine. He has punctuality and probity, not trifling away his time to establish falfe principles, or making a parade with a vicious hypothefis.

In the temperament of nations, the French clafs is that of the fanguine. Frivolous, benevolent,, and oftentatious, the Frenchman forgets not his inoffenfive parade till old age has made him wife. At all times difpofed to enjoy life, he is the best of companions. He pardons himfelf much; and therefore pardons others, if they will but grant that they are foreigners, and he is a Frenchman. His. gait is dancing, his fpeech without accent, and his ear incurable. His imagination purfues the confequences of fmall things with the rapidity of the fecond-hand of a ftop-watch, but feldom gives. thofe loud, ftrong, reverberating ftrokes which proclaim new difcoveries to the world. Wit is his inheritance. His countenance is open, and, at firft fight, fpeaks a thoufand pleafant, amiable things. Silent he cannot be, either with eye, tongue, or feature. His eloquence is often deafening; but his good humour cafts a veil over all his failings. His form is equally diftinct from that of other nations, and difficult to defcribe in words. No other man has fo little of the firm or deep traits, or fo much motion. He is all appearance, all gefture; therefore the first impreffion feldom deceives, but declares who and what he is. His imagination is incapable of high flights, and the fublime in all arts is to him offence. Hence his diflike of whatever is antique in art or literature,

his deafnefs to true mufic, his blindness to the higher beauties of painting. His last, most marking trait is, that he is aftonifhed at every thing, and cannot comprenend how it is poffible men fhould be other than they are at Paris.

The countenance of the Italian is foul, his fpeech exclamation, his motion gefticulation. His form is the nobleft, and his country the true feat of beauty. His fhort forehead, his ftrong, marked eyebones, the fine contour of his mouth, give a kindred claim to the antiquities of Greece. The ardour of his eyes denotes, that the beneficent fun brings forth fruit more perfect in Italy than beyond the Alps. His imagination is ever in motion, ever fympathizing with furrounding objects, and, as in the poem of Ariofto the whole works of creation are reflected, fo are they generally in the national fpirit. That power which could bring forth fuch a work, appears to me the general reprefentative of genius. It fings all, and from it all things are fung. The fublime in arts is the birthright of the Italian. Modern religion and politics may have degraded and falfified his character, may have rendered the vulgar faithlefs and crafty, but the fuperior part of the nation abounds in the nobleft and beft of men.

The Dutchman is tranquil, patient, confined, and appears to will nothing. His walk and eye are long filent, and an hour of his company will fcarcely produce a thought. He is little troubled by the tide of paffions, and he will contemplate unmoved the parading ftreamers of all nations failing before his eyes. Quiet and competence are his gods; therefore thofe arts alone which can procure these bleffings, employ his faculties. His laws, political and commercial, have originated in that spirit of fecurity

fecurity which maintains him in the poffeffion of what he has gained. He is tolerant in all that relates to opinion, if he be but left peaceably to enjoy his property, and to affemble at the meeting-houfe of his fect. The character of the ant is so applicable to the Dutch, that to this literature itself conforms in Holland. All poetical powers, exerted in great works or fmall, are foreign to this nation. They endure pleasure from the perufal of, but produce no poetry. I fpeak of the United Provinces, and not of the Flemings, whofe jovial character is in the midway between the Italian and French. A high forehead, half-open eyes, full nofe, hanging cheeks, wide open mouth, fleshy lips, broad chin, and large ears, I believe to be characteristic of the Dutchman.

A German thinks it difgraceful not to know every thing, and dreads nothing fo much as to be thought a fool. Probity often makes him appear a blockhead. Of nothing is he so proud as of honest, moral understanding. According to modern tactics, he is certainly the beft foldier, and the teacher of all Europe. He is allowed to be the greatest inventor, and often with fo little oftentation, that foreigners have, for centuries, unknown to him, robbed him of his glory. From the age of Tacitus, a willing dependant, he has exerted faculties for the service of his mafters, which others only exert for freedom and property. His countenance does not, like a painting in fresco, speak at a distance; but he must be fought and ftudied. His good nature and benevolence are often concealed under apparent morofenefs, and a third perfon is always neceffary to draw off the veil, and fhew him as he is. He is difficult to move, and, without the aid of old wine, is filent. He does not fufpect his own worth,

and

and wonders when it is difcovered by others. Fidelity, industry, and fecrecy, are his principal characteristics. Not having wit, he indulges his fenfibility. Moral good is the colouring which he requires in all arts. His epic and lyric fpirit walk in unfrequented paths. Hence his great, and fre quently gigantic fenfe, which feldom permits him. the clear afpect of enthusiasm, or the glow of fplendour. Moderate in the use of this world's delights, he has little propenfity to fenfuality and extravagance; but he is therefore formal, and lefs focial than his neighbour.

WE may certainly call nofes arched and pointed like this, witty; but the wit is reftrained and moderated by the acute understanding of the forehead, the fincere religion of the eye, and the phlegm of the chin.

Number 2.

The defcent from the nose to the lips in the phlegmatic countenance is unphlegmatic, and heterogeneous; nor does the curvature of the upper eyelid fufficiently agree with the temperament.

The

The outlines of the phlegmatic are relaxed, obtufe, and hanging; the outline of the eyes, oblique. Be it understood, there are other tokens, and that all phlegmatic perfons have not thefe figns, although whoever has them is certainly phlegmatic. If the projecting under lip, which is itself a sign of phlegm, fince it is evidently a fuperabundance and not a want of matter, be angular, and fharply delineated, then it is a fign of choleric phlegm; that is to fay, of the ebullition of humidity. If it be flexible, obtufe, powerlefs, and drooping, it is then pure phlegm. The forehead, nose, chin, and hair, are here very phlegmatic.

Number 3.

The choleric ought to have a more angularly pointed nofe, and lips more fharply delineated. The character of choler is much contained in the drawing of the eyes, either when the pupil projects, and much of the under part of the white is vifible, or when the upper eyelid retreats so that it fcarcely can be perceived; when the eyes open, or when the eye is funken, and the outlines are very definite and firm, without much curvature. In this example, the forehead, eyebrows, nose, chin, and hair, are very choleric; but the upper part of the countenance more fo than the under.

Number 4.

The fanguine needs but little correction, except that the nofe ought to be a little farther from the mouth, and the eye not so choleric. The levity of the fanguine temperament waves, flutters upon the lip, which, however, at the bottom, is too phlegmatic.

Number