New Physiognomy : or signs of character, as manifested through temperament and external forms, and especially in the "the human face divine." . ormed us that hehas visited districts inthe Neapolitan Stateswhere the peasantshave preserved, in theircostume, almost theexact ancient classicstyle. In both theseand the Roman Statesthe mountaineers andthe lower class of thecities are a purer race,as well as a superiorone, in courage andcapacity, to the upperclass. The Neapolitanpopulation h as nodoubt also receivedlarge Semitic mixtures Fig. 53S—-Michael Angelo. from early Phoenician and modern Arabi
New Physiognomy : or signs of character, as manifested through temperament and external forms, and especially in the "the human face divine." . ormed us that hehas visited districts inthe Neapolitan Stateswhere the peasantshave preserved, in theircostume, almost theexact ancient classicstyle. In both theseand the Roman Statesthe mountaineers andthe lower class of thecities are a purer race,as well as a superiorone, in courage andcapacity, to the upperclass. The Neapolitanpopulation h as nodoubt also receivedlarge Semitic mixtures Fig. 53S—-Michael Angelo. from early Phoenician and modern Arabian colonization andconquest. The Norman element seems to have been very slight. Sicily, Sardinia, and Corsica show traces of the Moor, inthe dark olive complexion, the pale, bilious countenance, andguttural accent of the people. Almost all the races whichin ancient times have passed over Europe, mingle in the in-habitants of these islands. They are described as showingthe Semitic fanaticism and vindictiveness with the Teutonicambition; they are generally more given to mental thanbodily exercise, and are fond of meditation and THE ITALIAN. 427 The [talians of the higher classes, lineal descendants ot Greek. Roman, and Goth, and inheriting the results of so line. many centuries of civiliza-tion, possess some of the no-blest traits of character thatever pertained to humanit}^From these classes have comethe great men who havemade Italy illustrious. InRaphael (Hg. 53 7) we havethe artistic talent and fault-less taste of the Greek; inPante, the dreamy idealismof the Goth ; in Petrarch andTasso (fig. 318, p. 220), Goth-ic volume of brain with theGreek form of cranial con-tour and physiognomical out- The grand head and face of Michael Angelo (fig. 538) to indicate a combination
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