"It may be proved that no principal of beauty exists in this profile; for the stronger the arching of the nose, is the less does it contain of the beautiful; and, if any countenance seen in profile is bad, any search after beauty will there be vain,"

(The noblest, purest, wisest, most spiritual and benevolent countenance may be beautiful to the physiognomist, who, in the extended sense of the word beauty, understands all moral expressions of good as beautiful; yet the form may not, therefore, accurately speaking, deserve the appellation of beautiful.)

7.

"We generally think according to our formation.

8.

"We read the colouring of Guido and Guercino in their countenances.

9.

Nothing is more difficult than to demonstrate a self-evident truth."

F.

MISCELLANEOUS QUOTATIONS.

1.

FROM BURKE, ON THE SUBLIME AND BEAUTIFUL.

"CAMPANELLA had not only made very accurate observations on human faces, but was very expert in mimicking such as were any way remarkable. When he had a mind to penetrate into the inclinations of those he had to deal with, he composed his face, his gesture, and his whole body, as nearly as he could, into the exact similitude of the person he intended to examine; and then carefully observed what turn of mind he seemed to acquire by this change. So that, says my author, he was able to enter into the dispositions and thoughts of people as effectually as if he had been changed into the very men. I have often observed that, on mimicking the looks and gestures of angry, or placid, or frighted, or daring men, I havé involuntarily found my mind turned to that passion whose appearance I endeavoured to imitate: nay, I am convinced it is hard to

avoid it, though one strove to separate the passion from its correspondent gestures. Our minds and bodies are so closely and intimately connected, that one is incapable of pain or pleasure without the other. Campanella, of whom we have been speaking, could so abstract his attention from any sufferings of his body, that he was able to endure the rack itself without much pain; and, in lesser pains, every body must have observed that, when we can employ our attention on any thing else, the pain has been for a time suspended: on the other hand, if, by any means, the body is indisposed to perform such gestures, or to be stimulated into such emotions as any passion usually produces in it, that passion itself never can arise, though its cause should be never so strongly in action, though it should be merely mental, and immediately affecting none of the senses. As an opiate or spirituous liquors shall suspend the operation of grief, or fear, or anger, in spite of all our efforts to the contrary; and this by inducing in the body a disposition contrary to that which it receives from these passions."

Enquiry on the Sublime and Beautiful, page 249-252.

2.

Qui pourra jamais dire en quoi l'organisation d'un imbecile différe de celle d'un autre homme *?"—(The naturalist, whether Buffon or any other, who can ask this question, will never be satisfied with any given answer, even though it were the most formal demonstration.)

3.

"Diet and exercise would in vain be recommended to the dying."- (There are countenances which no human wisdom or power can rectify; but that which is impossible to man is not so to God.)

4.

"If If the worm gnaws within, the appearance without is deformity and shame."(Let the hypocrite, devoured by conscience, assume whatever artful appearance he may, of severity, tranquillity, or vague solemnity, his distortion will ever be apparent to the physiognomist.)

5.

"Take a tree from its native soil, its free air, and mountainous situation, and plant it

* Who can ever explain wherein consists the difference of organization between an idiot and another man?

in the confined circulation of a hot-house. There it may vegetate, but in a weak and sickly condition. Feed this foreign animal in a den; you will feed in vain.-It starves in the midst of plenty, or grows fat and feeble.”—(This, alas! is the mournful history many a man.)

of

6.

“A portrait is the ideal of an individual, not of men in general.”—(A perfect portrait is neither more nor less than the circular form of a man reduced to a flat surface, and which shall have the exact appearance of the person for whom it was painted, seen in a camera obscura.)

7.

I once asked a friend, "How does it happen that artful and subtle people always have one or both eyes rather closed?" "Because they are feeble," answered he. "Who ever saw strength and subtlety united? The mistrust of others is meanness toward ourselves."

8.

(This same friend, who, to me, is a man of ten thousand, for whatever relates to mind, wrote two valuable letters on physiognomy to me, from which I am allowed to make the following extracts.)