D.

EXTRACTS FROM NICOLAI.

1.

"THE distorted or disfigured form may originate as well from external as from internal causes; but the consistency of the whole is the consequence of conformity between internal and external causes; therefore is moral goodness much more visible in the countenance than moral evil."-(True, those moments excepted when moral evil is in act.)

2.

"The end of physiognomy ought to be, not conjectures on individual, but the discovery of general, character."-(That is to say, the discovery of general signs of powers and sensations; which certainly are useless, unless they can be individually applied, since our intercourse is with individuals.)

3.

"Were numerous portraits of the same man annually drawn, and the original, by that means, well known, it would be of great

utility to physiognomy."-It is possible, and perhaps only possible, to procure accurate shades, or plaister-casts. Minute changes are seldom accurately enough attended to, by the painter, for the purpose of physiognomy.)

4.

"The grand question of the physiognomist, in his researches, will ever be, in what manner is a man considered capable of the impressions of sense; through what kind of prospective does he view the world? What can he give, what receive?

5.

"That very vivacity of imagination, that quickness of conception, without which no man can be a physiognomist, is, probably, almost inseparable from other qualities which render the highest caution necessary, if the result of his observations is to be applied to living persons."-(Granted; but the danger will be much less if he endeavour to employ his quick sensations in determinate signs; if he be able to pourtray the general tokens of certain powers, sensations and passions; and if his rapid imagination be only busied to discover, and draw, resemblances.)

E.

EXTRACTS FROM WINKELMANX.

1.

'INTERNAL sensation is the characteristic of truth; and the designer who would present such natural sensation to his academy, would not obtain a shade of the true without a peculiar addition of something which an ordinary and unimpassioned mind cannot read in any model, being ignorant of the action peculiar to each sensation or passion.”—(Internal sensation forms the physiognomist, which if the designer be not, he will give but the shadow, and only an indefinite and confused shadow, of the true character of nature.)

2.

"The forehead and nose of the Greek gods and goddesses form almost a strait line. The heads of famous women, on Greek coins, have similar profiles, where the fancy might not be indulged in ideal beauties. Hence we may conjecture that this form was as common to the ancient Greeks as the flat nose to the Calmuc, or the sinall eye to the

Chinese. The large eyes of Grecian heads, in gems, and coins, support this conjecture.” -(This ought not to be absolutely general, and, probably, was not, since numerous medals show the contrary; though in certain ages and countries such might have been the most common form. If one such countenance, however, had only presented itself to the genius of art, it would have been sufficient for its propagation and continuance. -This is less our concern than the signification of such a form. The nearer the approach to the perpendicular, the less is there characteristic of the wise or graceful; and the higher the character of worth and greatness, the more obliquely the lines retreat. The more strait and perpendicular the profile of the forehead and the nose is, the more does the profile of the upper part of the head approach a right angle, from which wisdom and beauty will fly with equal rapid steps. In the usual copies of these famous ancient lines of beauty, I generally find the expression of meanness; and, if I dare so say, of vague insipidity. I repeat, in the copies; in the Sophonisba of Angelica Kauffman, for instance, where, probably, the shading under the hair has been neglected, and where the gentle arching of the lines, apparently, was scarcely attainable.)

3.

"The line which separates the repletion from the excess of nature is very small.(Not to be measured by industry or instrument, yet all powerful, as every thing unattainable is.)

4.

"A mind as beautiful as was that of Raphael, in an equally beautiful body, is necessary, first to feel, and afterward to display, the true character of the ancients, in these modern times.

5.

"Constraint is unnatural, and violence disorder."-(Where constraint is remarked, there let secret, profound, slowly destructive, passion be feared: where violence, there open, and quick-destroying.)

6.

"Greatness will be expressed by the straight and full, and tenderness by the gently curving."-(All greatness has something of the straight and full; but all that is straight and full is not greatness. The straight and full must be in a certain position, and must have a determinate relation to the horizontal surface on which the observer stands to view it.)