I never found, after repeated experiments, that the best efforts of art could equal nature, either in freedom or in precision, but that there was always something more or less than nature. Nature is sharp and free: whoever studies sharpness more than freedom, will be hard, and whoever studies freedom more than sharpness, will become diffuse and indeterminate. I can admire him only, who, equally studious of her sharpness and freedom, acquires equal certainty and impartiality.

To attain this, artist, imitator of humanity! first exercise yourself in drawing shades; afterwards copy them by hand, and next compare and correct. Without this you will with difficulty discover the grand secret of uniting precision and freedom.

I have collected more physiognomical knowledge from shades alone than from every other kind of portrait; have improved physiognomonical sensation more by the sight of them than by the contemplation of ever mutable nature. Shades collect the distracted attention, confine it to an outline, and thus render the observation more simple, easy, and precise. Physiognomy has no greater, more incontrovertible certainty of the truth of its object, than that imparted by shade. If the shade, according to the general sense and decision of all men, can decide so much concerning character, how much more must the living body, the whole appearance, and action of the man! If the shade be oracu

lar, the voice of truth, the word of God, what must the living original be, illuminated by the spirit of God!

Hundreds have asked, and hundreds will continue to ask, "What can be expected from mere shades?" Yet no shade can be viewed by any one of these hundred, who will not form some judgment on it, often accurately, more accurately than I could have judged.

In order to make the astonishing significance of shades conspicuous, we ought either to compare opposite characters of men taken in shade, or, which may be more convincing, to cut out of black paper, or draw, imaginary countenances widely dissimilar. Or, again, when we have acquired some proficiency in observation, to double black paper, and cut two countenances; and, afterwards, by cutting with the scissars, to make slight alterations, appealing to our eye, or physiognomonical feeling, at each alteration; or, lastly, only to take various shades of the same countenance, and compare them together. Such experiments would astonish us, to perceive what great effects are produced by slight alterations.

The common method of taking shades is accompanied with many inconveniences. It is hardly possible the person drawn should sit sufficiently still; the designer is obliged to change his place; he must approach so near to the person that motion is almost inevitable, and the designer is in the most inconvenient posi

tion; neither are the preparatory steps every where possible, nor simple enough. A seat purposely contrived would be more convenient. The shade should be taken on post paper, or rather on thin oiled paper, well dried. Let the head and back be supported by a chair, and the shade fall on the oil paper behind a clear, flat, polished glass. Let the drawer sit behind the glass, holding the frame with his left hand, and, having a sharp black lead pencil, draw with the right. The glass, in a detached sliding frame, may be raised or lowered, according to the height of the person. The bottom of the glass frame, being thin, will be best of iron, and should be raised so as to rest steadily upon the shoulder. In the centre, upon the glass, should be a small piece of wood or iron, to which fasten a small round cushion, supported by a short pin, scarcely half an inch long, which also may be raised or lowered, and against which the person drawn may lean.

CHAP. XLIII.

Description of Plate VI.

Number I. MENDELSOHN.

In the forehead and nose penetration and sound understanding are evident. The mouth is much more delicate than the mouth of 2.

Number II. SPALDING.

Clear ideas, love of elegance, purity, accuracy of thought and action; does not easily admit the unnatural. The forehead not sufficiently characteristic, but fine taste in the nose.

Number III. ROCHOW.

Has more good sense; prompt, accurate perception of truth, and delicacy, than 4: but I suspect less acuteness.

Number IV. NICOLAI.

Whoever hesitates concerning the character · of this head, never can have observed the forehead. This arch, abstractedly considered, especially in the upper part, has more capacity than Nos. 2 and 3. In the upper outline, also, of the under part, understanding and exquisite penetration cannot be overlooked.

Number V.

One of those masculine profiles which generally please. Conceal the under chin, and an approach to greatness is perceptible; except that greater variation in the outline is wanting, especially in the nose and forehead. The choleric phlegmatic man is visible in the whole; especially in the eyebrows, nose, and bottom part of the chin; as likewise are integrity, fidelity, goodness, and complaisance.

Number VI. LAVATER.

This shade, though imperfect, may easily be known It must pass without comment, or rather the commentary is before the world, is in this book. Let that speak; I am silent.

CHAP. XLIV.

A Word to Travellers.

THERE appear to me to be three things indispensable to travellers, health, money, and physiognomy. Therefore a physiognomonical word to travellers. I could wish indeed, that, instead of a word, a traveller's physiognomonical companion were written; but this must be done by an experienced traveller. In the mean time I shall bid him farewell, with the following short advice:

What do you seek, travellers? what is your wish? What would you see more remarkable, more singular, more rare, more worthy to be examined, than the varieties of humanity? This indeed is fashionable. You inquire after men; you seek the wisest, best, and greatest men, especially the most famous. Why is your curiosity limited to seeing only? Would it not be better you should illuminate your own minds by the light of others, and animate yourselves by their ardour?