‘The Gitános have an olive complexion and very marked physiognomy; their cheeks are prominent, their lips thick, their eyes vivid and black; their hair is long, black, and coarse, and their teeth very white. The general expression of their physiognomy is a compound of pride, slavishness, and cunning. They are, for the most part, of good stature, well formed, and support with facility fatigue and every kind of hardship. When they discuss any matter, or speak among themselves, whether in Catalan, in Castilian, or in Germania, which is their own peculiar jargon, they always make use of much gesticulation, which contributes to give to their conversation and to the vivacity of their physiognomy a certain expression, still more penetrating and characteristic. ‘When a Gitáno has occasion to speak of some business in which his interest is involved, he redoubles his gestures in proportion as he knows the necessity of convincing those who hear him, and fears their impassibility. If any rancorous idea agitate him in the course of his narrative; if he endeavour to infuse into his auditors sentiments of jealousy, vengeance, or any violent passion, his features become exaggerated, and the vivacity of his glances, and the contraction of his lips, show clearly, and in an imposing manner, the foreign origin of the Gitános, and all the customs of barbarous people. Even his very smile has an expression hard and disagreeable. One might almost say that joy in him is a forced sentiment, and that, like unto the savage man, sadness is the dominant feature of his physiognomy. ‘The Gitána is distinguished by the same complexion, and almost the same features. In her frame she is as well formed, and as flexible as the Gitáno. Condemned to suffer the same privations and wants, her countenance, when her interest does not oblige her to dissemble her feelings, presents the same aspect of melancholy, and shows besides, with more energy, the rancorous passions of which the female heart is susceptible. Free in her actions, her carriage, and her pursuits, she speaks, vociferates, and makes more gestures than the Gitáno, and, in imitation of him, her arms are in continual motion, to give more expression to the imagery with which she accompanies her discourse; her whole body contributes to her gesture, and to increase its force; endeavouring by these means to sharpen the effect of language in itself insufficient; and her vivid and disordered imagination is displayed in her appearance and attitude. ‘When she turns her hand to any species of labour, her hurried action, the disorder of her hair, which is scarcely subjected by a little comb, and her propensity to irritation, show how little she loves toil, and her disgust for any continued occupation.