I saw Cardinal Mezzofanti for the first time, in July, 1841. He was then in his sixty-seventh year: but, although his look and colour betrayed the delicacy of his constitution, his carriage, as yet, exhibited little indication of the feebleness of approaching age. He was below the middle stature, and altogether of a diminutive, though light, and in youth most active frame. His shoulders, it is true, were slightly rounded, and his chest had an appearance of contraction; but his movements were yet free, tolerably vigorous, and, although perhaps too hurried for dignity, not ungraceful. His hair was plentifully dashed with gray; but, except on the crown, where the baldness was but partially concealed by the red _zucchetto_, (skull cap,) it was still thick and almost luxuriant. More than one portrait of him has been published, and several of those who saw him at different times have recorded their impressions of his appearance: but I cannot say that any of these portraitures, whether of pencil or of pen, conveys a full idea of the man. His countenance was one of those which Madame Dudevant strangely, but yet significantly, describes as “not a face, but a physiognomy.” Its character lay far less in the features than in the expression. The former, taken separately, were unattractive, and even insignificant. The proportions of the face were far from regular. The complexion was dead and colourless, and these defects were made still more remarkable by a small mole upon one cheek. There was an occasional nervous winking of the eyelids, too, which produced an air of weakness, and at times even of constraint; but there was, nevertheless, a pervading expression of gentleness, simplicity, and open-hearted candour, which carried off all these individual defects, and which no portrait could adequately embody. Mr. Monckton Milnes told me that the best likeness of the Cardinal he ever saw, was the kneeling figure in Raffaelle’s noble picture, the Madonna di Foligno: and undoubtedly, without any close affinity of lineament, it has a strong general similitude of air and expression:—the same “open brow of undisturbed humanity,” on which no passion had written a single line, and which care had touched only to soften and spiritualize; the same quiet smile, playful, yet subdued, humility blended with self-respect, modesty unmarred by shyness or timidity;—above all the same Eyes beaming courtesy and mild regard—