is very different from one who is by nature superior to vulgar souls."

There is no such thing as innate servility. It is true that, under certain circumstances, some are much more disposed than others to become servile.

"The unfeeling mind of the slave has vacuity more complete, or, if a master, more self-complacency and arrogance, in the open mouth, the projecting lip, and the turned-up nose. The noble mind rules by the comprehensive aspect, while, in the closed lips, moderation is expressed. He will serve with sullenness, with downcast eye, and his shut mouth will disdain to complain.

"These causes will undoubtedly make durable impressions, so will the adventitious occasion transitory ones, while their power remains. The latter are more apparent than the signs of the countenance at rest, but may be well defined by the principal characteristics of the agitated. features; and, by comparison with countenances subject to similar agitations, the nature of the mind may be fully displayed. Anger in the unreasonable, ridiculously struggles; in the selfconceited, it is fearful rage; in the noble minded, it yields and brings opponents to shame; in the benevolent, it has a mixture of compassion for the offender, moving him to repentance.

"The affliction of the ignorant is outrageous, and of the vain ridiculous; of the compassionate, abundance in tears and communicative; of the

resolute serious, internal, the muscles of the cheeks scarcely drawn upwards, the forehead little wrinkled.

"Violent and eager is the love of the ignorant; of the vain, disgusting, which is seen in the sparkling eyes, and the forced smile of the forked cheeks, and the indrawn mouth; of the tender, languishing, with the mouth contracted to entreat; of the man of sense, serious, steadfastly surveying the object, the forehead open, and the mouth prepared to plead.

"On the whole, the sensations of a man of fortitude are restrained, while those of the ignorant degenerate into grimace. The latter, therefore, are not the proper study of the artist, though they are of the physiognomist, and the moral teacher, that youth may be warned against too strong an expression of the emotions of the mind, and of their ridiculous effects.

"In this manner do the communicative and moving sensations of the benevolent inspire reverence; but those of the vicious, fear, hatred, or contempt.

"The repetition of passions engrave their signs so deeply, that they resemble the original stamp of nature. Hence certainly may be deduced, that the mind is addicted to such passions. Thus are poetry and the dramatic art highly beneficial, and thus may be seen the advantage of conducting youth to scenes of misery and of death.

"Such a similarity is formed by frequent in

tercourse between men, that they not only assume a mental likeness, but frequently contract some resemblance of voice and features. Of this I know several examples.

"Each man has his favourite gesture, which might decypher his whole character, might he be observed with sufficient accuracy to be drawn in that precise posture. The collection of such portraits would be excellent for the first studies of the physiognomist, and increase the utility of the fragments of Lavater tenfold.

"A series of drawings of the motions peculiar to individuals, would be of equal utility. The number of them in lively men is great, and they are transitory. In the more sedate, they are less numerous and more grave.

"As a collection of idealized individuals would promote an extensive knowledge of various kinds of men, so would a collection of the motions of a single countenance promote a history of the human heart, and demonstrate what an arrogant, yet pusillanimous thing the unformed heart is, and the perfection it is capable of, from the efforts of reason and experience.

66 It would be an excellent school for youth to see Christ teaching in the Temple, asking, Whom seek you? agonizing in the Garden, expiring on the cross. Ever the same Godman! Ever displaying, in these various situations, the same miraculous mind, the same steadfast reason, the same gentle benevolence. Cæsar jesting with the pirates when their prisoner, weeping

over the head of Pompey, sinking beneath his assassins, and casting an expiring look of affliction and reproach, while he exclaims, Et tu Brute? Belshazzar feasting with his nobles, turning pale at the hand-writing on the wall. The tyrant enraged, butchering his slaves, and surrounded by condemned wretches entreating mercy from the uplifted sword.

"Sensation having a relative influence on the voice, must not there be one principal tone or key, by which all the others are governed, and will not this be the key, in which he speaks when unimpassioned, like as the countenance at rest contains the propensities to all such traits as it is capable of receiving? These keys of voice a good musician, with a fine ear, should collect, class, and learn to define, so that he might place the key of the voice beside any given countenance, making proper allowances for changes, occasioned by the form of the lungs, exclusive of disease. Tall people, with a, flatness of breast, have weak voices.

"This idea, which is more difficult to execute than conceive, was inspired by the various tones in which I have heard yes and no pronounced. The various emotions under which these words are uttered, whether of assurance, decision, joy, grief, ridicule, or laughter, will give birth to tones as various. Yet each man has his peculiar manner, respondent to his character, of saying yes, no, or any other word. It will be open, hesitating, grave, trifling, sympathizing, cold,

peevish, mild, fearless, or timid.

What a guide

for the man of the world, and how do such tones display or betray the mind!

"Since we are taught by experience, that, at certain times, the man of understanding appears foolish, the courageous cowardly, the benevolent perverse, and the cheerful discontented, we might, by the assistance of these accidental traits, draw an idea of each motion; and this would be a most valuable addition, and an important step in the progress of physiognomy.

CHAP. XXXIX.

Extracts from NICOLAI and WINKELMANN.

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; for which reason moral goodness is much more visible in the countenance than moral evil."

This is true, those moments excepted when moral evil is in act.

2.

"The end of physiognomy ought to be, not