ments, yet not to be absolutely mistaken. The whole aspect, especially the mouth, speaks inoffensive tranquillity, and benevolence bordering on weakness;—more understanding and less sensibility in the nose than the author supposes himself to possess-some talent for observation in the eye and eyebrows.

CHAP. LII.

Miscellaneous Quotations.

1.

"CAMPANELLA has not only made very accurate observations on human faces, but was very expert in mimicking such as were any way remarkable. Whenever he thought proper to penetrate into the inclinations of those he had to deal with, he composed his face, his gestures, 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 disposition and thoughts of people, as effectually as if he had been changed into the very man. I have often observed that, on mimicking the gestures and looks of angry, or placid, or frightened, or daring men, I have involuntarily found my mind turned to that pas

sion, 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 liquor shall suspend the operation of grief, 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." This passage is extracted from Burke on the Sublime and Beautiful.

2.

"Who can explain wherein consists the dif

ference of organization between an ideot and another man?"

The naturalist, whether Buffon or any other, who is become famous, and 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 be of no use when recommended to the dying."

No human wisdom or power can rectify; but that which is impossible to man, is not so to God.

4.

"The appearance without must be deformity and shame, when the worm gnaws within."

Let the hypocrite, devoured by conscience, assume whatever artful appearance he will, of severity, tranquillity, or vague solemnity, his distortion will ever be apparent to the physiog

nomist.

5.

"Take a tree from its native soil, its free air, and mountainous situation, and plant it 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 find it in vain. It starves in the midst of plenty, or grows fat and feeble."

This, I am sorry to say, is the mournful history of many a man.

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 towards 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:

"It appears to me to be an eternal law, that the first is the only true impression. Of this I offer no proof, except by asserting such is my belief, and by appealing to the sensations of others. The stranger affects me by his appearance, and is, to my sensitive being, what the

sun would be to a man born blind restored to sight.

9.

"Rousseau was right when he said of D. that man does not please me, though he has never done me any injury; but I must break with him before it comes to that.

10.

"Physiognomy is as necessary to man as language." I may add, as natural.

CHAP. LIII.

Miscellaneous Thoughts.

1.

EVERY thing is good. Every thing may, and must be misused. Physiognomonical sensation is in itself as truly good, as godlike, as expressive of the exalted worth of human nature as moral sensation; perhaps they are both the same. The suppressing, the destroying a sensation so deserving of honour, where it begins to act, is sinning against ourselves, and in reality equal to resisting the good spirit. Indeed, good impulses and actions must have their limits, in order that they may not impede other good impulses and actions.