eyes of hers, in the turn of her face and carriage of her head,
as she sits there, considerately gazing out upon a world which
would never conform to her will. Decidedly a handsome, wholesome
and affectionate aspect of face. Hanoverian in type, that is to
say, blond, florid, slightly PROFUSE;--yet the better kind of
Hanoverian, little or nothing of the worse or at least the worst
kind. The eyes, as I say, are gray, and quiet, almost sad;
expressive of reticence and reflection, of slow constancy rather
than of SPEED in any kind. One expects, could the picture speak,
the querulous sound of maternal and other solicitude; of a temper
tending towards the obstinate, the quietly unchangeable;--loyal
patience not wanting, yet in still larger measure royal impatience
well concealed, and long and carefully cherished. This is what I
read in Sophie Dorothee's Portraits,--probably remembering what
I had otherwise read, and come to know of her. She too will not a
little concern us in the first part of this History. I find, for
one thing, she had given much of her physiognomy to the Friedrich
now born. In his Portraits as Prince-Royal, he strongly resembles
her; it is his mother's face informed with youth and new fire,
and translated into the masculine gender: in his later Portraits,
one less and less recognizes the mother.

Friedrich Wilhelm, now in the sixth year of wedlock, is still very
fond of his Sophie Dorothee,-- "Fiechen" (Feekin italic> diminutive of Sophie ), as he calls
her; she also having, and continuing to have, the due wife's
regard for her solid, honest, if somewhat explosive bear.
He troubles her a little now and then, it is said, with whiffs of
jealousy; but they are whiffs only, the product of accidental
moodinesses in him, or of transient aspects, misinterpreted,