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be it little or much."-" Then, Sir, be pleased to give me eight shillings."-" Here they are; had you asked a hundred guineas you should have had them."

CHAP. XLIX.

Miscellaneous Extracts from Kampf's Essay on the Temperaments, with Remarks.

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"WILL not physiognomy be to man what the looking-glass is to an ugly woman?”

Let me also add, to the handsome woman. The wise looks in the glass, and washes away spots; the fool looks, turns back, and remains as he was.

2.

"Each temperament, each character, has its ' good and bad. The one has inclinations of which the other is incapable. The one has more than the other. The ingot is of more worth than the guineas individually, into which it is coined; yet the latter are most useful. The tulip delights by its beauty, the carnation by its smell. The unseemly wormwood displeases both taste and smell, yet, in medical vir

tue, is superior to both. There it is that each contributes to the perfection of the whole."

The carnation should not wish to be a tulip, the finger an eye, nor the weak desire to act within the circle of the strong. Each has its peculiar circle, as it has its peculiar form. To wish to depart from this circle is like wishing to be transported into another body.

3.

"Within the course of a year, we are assured, that the activity of nature changes the body, yet we are sensible of no change of mind, although our body has been subjected to the greatest changes, in consequence of meat, drink, air, and other accidents; the difference of air and manner of life does not change the temperament."

The foundation of character lies deeper, and is, in a certain degree, independent of all accidents. It is probably the spiritual and immortal texture, into which all that is visible, corruptible, and transitory, is interwoven.

4.

66 A block of wood may be carved by the statuary into what form he shall please; he may make it an Æsop or an Antinous, but he will never change the inherent nature of the wood."

To know and distinguish the materials and form of men, so far as knowledge contributes

to their proper application, is the highest and most effectual wisdom of which human nature is capable.

essence.

5.

"In the eyes of certain persons there is something sublime, which beams and exacts reverence. This sublimity is the concealed power of raising themselves above others, which is not the wretched effect of constraint, but primitive Each finds himself obliged to submit to this secret power, without knowing why, as soon as he perceives that look, implanted by nature to inspire reverence, shining in the eyes. Those who possess this natural, sovereign essence, rule as lords, or lions, among men, by native privilege, with heart and tongue conquering all.

6.

"There are only four principal aspects, all different from each other, the ardent, the dull, the fixed, and the fluctuating."

The application is the proof of all general propositions. Let physiognomonical axioms be applied to known individuals, friends, or enemies, and their truth or falsehood, precision or inaccuracy, will easily be determined. Let us make the experiment with the above, and we shall certainly find there are numerous aspects which are not included within these four; such as the luminous aspect, very different from the ardent,

and neither fixed like the melancholic, nor fluctuating like the sanguine.

There is the look or aspect, which is at once rapid and fixed, and, as I may say, penetrates and attaches at the same moment. There is the tranquilly active look, neither choleric nor phlegmatic. I think it would be better to arrange them into the giving, the receiving, and the giving and receiving combined; or into intentive and extensive; or into the attracting, repelling, and unparticipating; into the contracted, the relaxed, the strained, the attaining, the unattaining, the tranquil, the steady, the slow, the open, the closed, the cold, the amorous, &c.

CHAP. L.

Upon Portrait Painting.

PORTRAIT painting, the most natural, manly, useful, noble, and, however apparently easy, is the most difficult of the arts. Love first discovered this heavenly art. Without love, what could it perform?

As on this art depends a great part of this present work, and the science on which it treats, it is proper that something should be said on the subject. Something; for how new, how important, and great a work might be written

on this art! For the honour of man, and of the art, I hope such a work will be written. I do not think it ought to be the work of a painter, however great in his profession, but of the understanding friend of physiognomy, the man of taste, the daily confidential observer of the great Portrait painter.

Sultzer, that philosopher of taste and discernment, has an excellent article, in his dictionary, on this subject, under the word Portrait. But what can be said in a work so confined, on a subject so extensive? Again, whoever will employ his thoughts on this art, will find that it is sufficient to exercise all the searching, all the active powers of man; that it never can be entirely learned, nor ever can arrive at ideal perfection.

I shall now attempt to recapitulate some of the avoidable and unavoidable difficulties attendant on this art; the knowledge of which, in my opinion, is as necessary to the painter as to the physiognomist.

Let us first inquire, What is portrait painting? It is the communication, the preservation of the image of some individual; the art of suddenly depicting all that can be depicted of that half of man, which is rendered apparent, and which never can be conveyed in words. lf what Göthe has somewhere said, be true, and in my opinion nothing can be more true, that the best text for a commentary on man is his pre

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