and if not absolutely the indigenous face of the lake district, at any rate a variety of that face,--a modification of the original type. The head was well filled out.... The forehead was not remarkably lofty ... but it was, perhaps, remarkable for its breadth and expansive development. Neither were the eyes large, ... on the contrary, they were rather small; but that did not interfere with their effect, which at times was fine, and suitable to his intellectual character.... The mouth and the region of the mouth--the whole circumference of the mouth, were about the strongest feature in Wordsworth’s face. There was nothing especially to be noticed in the mere outline of the lips, but the swell and protrusion of the parts above and around the mouth are noticeable.” And then De Quincy tells us why. He had read that Milton’s surviving daughter, when she saw the crayon drawing representing the likeness of her father, in Richardson the painter’s thick octavo volume of Milton, burst out in a rapture of passionate admiration, exclaiming--“This is my father! this is my dear father!” And when De Quincy had procured this book, he saw in this likeness of Milton a perfect portrait of Wordsworth. All the peculiarities, he says, were retained--“A drooping appearance about the eyelids--that remarkable swell that I have noticed about the mouth,--the way in which the hair lay upon the forehead. In two points only there was a deviation from the rigorous truth of Wordsworth’s features--the face was a little too short and too broad, and the eyes were too large.--There was also a wreath of laurel about the head, which, (as Wordsworth remarked,) disturbed the natural expression of the whole picture; else, and with these few allowances, he also admitted that the resemblance was, _for that period of his life_ (but let not that restriction be forgotten;) perfect, or, as nearly so as art could accomplish. This period was about the year 1807.