regular, more animated; their complexions bear the marks of a warmer sun,
and their eyes seem to participate of its fires; their carriage is graceful
and noble; they have generally good figures; they are not indeed angelic
forms, but they are earthly Venuses. It has been supposed by some, that the
habitual view of those models of ideal beauty, the Greek statues, with
which Italy abounds, may be an indirect cause conducing to the general
beauty of the sex; be that as it may, I think the fine features and
beautiful forms of the Italian fair have a great influence upon the minds
of young artists, and this is perhaps one of the principal reasons why
Italy has so long excelled in figure painters. A handsome female
countenance, animated by the expression of the soul, is among the finest
works of nature; the sight of it elevates the mind, and kindles the sparks
of genius. Raphael took the models of his charming Madonnas from nature.
Titian, Guido, Caracci, and others, derived their ideas of female beauty
from the exquisite countenances so frequent in their native country.

_Italy in the Nineteenth Century._

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MY COMMON-PLACE BOOK.

No. XXII.

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A LINNET AT SEA.