A great profusion of dark hair, which seems to encroach upon the forehead, rendering it short and narrow; the nose generally either aquiline, or continued in a straight line from the lower part of the brow; a full and short upper lip; by the way, nothing has a worse effect on a countenance, than a large interval between the nose and mouth; the eyes are large, and of a sparkling black. The black eye certainly labours under one disadvantage, which is, that, from the iris and pupil being of the same colour, the contraction and dilatation of the latter is not seen, by which the eye is abridged of half its powers. Yet the Italian eye is wonderfully expressive; some people think it says too much. The complexion, for the most part, is of a clear brown, sometimes fair, but very seldom florid, or of that bright fairness which is common in England and Saxony. It must be owned, that those features which have a fine expression of sentiment and meaning in youth, are more apt, than less expressive faces, to become soon strong and masculine. In England and Germany, the women, a little advanced in life, retain the appearance of youth longer than in Italy. With countenances so favourable for the pencil, you will naturally imagine, that portrait painting is in the highest perfection here. The reverse, however, of this is true; that branch of the art is in the lowest estimation all over Italy. In palaces, the best furnished with pictures, you seldom see a portrait of the proprietor, or any of his family. A quarter length of the reigning Pope is sometimes the only portrait, of a living person, to be seen in the whole palace. Several of the Roman Princes affect to have a room of state, or audience chamber, in which is a raised seat like a throne, with a canopy over it. In those rooms the effigies of the Pontiffs are hung; they are the work of very inferior artists, and seldom cost above three or four sequins. As soon as his Holiness departs this life, the portrait disappears, and the face of his successor is in due time hung up in its stead. This, you will say, is treating their old sovereign a little unkindly, and paying no very expensive compliment to the new; it is not so œconomical, however, as what was practised by a certain person. I shall not inform you whether he was a Frenchman or an Englishman, but he certainly was a courtier, and professed the highest possible regard for all living monarchs; but considered them as no better than any other piece of clay when dead. He had a full length picture of his own Sovereign in the principal room of his house; on his majesty’s death, to save himself the expence of a fresh body, and a new suit of ermine, he employed a painter to brush out the face and periwig, and clap the new King’s head on his grandfather’s shoulders; which, he declared, were in the most perfect preservation, and fully able to wear out three or four such heads as painters usually give in these degenerate days.