themselves are inspired. The eye at once receives and reflects the intelligence of thought, and the warmth of sensibility. It is the sense of the mind, the tongue of the understanding."

Again, "as in nature, so in art, the eyes are differently formed in the statues of the gods, and in heads of ideal beauty, so that the eye itself is the distinguishing token. Jupiter, Juno, and Apollo, have large, round, well-arched eyes, shortened in length, in order that the arch may be the higher. Pallas, in like manner, has large eyes; but the upper eyelid, which is drawn up, is expressive of attraction and languishment. Such an eye distinguishes the heavenly Venus Urania from Juno; yet the statue of this Venus bearing a diadem, has for that reason often been mistaken, by those who have not made this observation for the statue of Juno. Many of the modern artists appear to have been desirous of excelling the ancients, and to give what Homer calls the ox-eye, by making the pupil project, and seem to start from the socket. Such an eye has the modern head of the erroneously supposed Cleopatra, in the Medicean villa, and which presents the idea of a person strangled. The same kind of eye a young artist has given to the statue of the Holy Virgin, in the church St. Carlo al Torso."

I shall quote one more passage from Paracelsus, who, though an astrological enthusiast, was a man of prodigious genius:

"To come to the practical part, and give

F

proper signs, with some of their significations, it is to be remarked, that blackness in the eyes generally denotes health, a firm mind, not wavering, but courageous, true, and honourable. Grey eyes generally denote deceit, instability, and indecision. Short sight denotes an able The projector, crafty and intriguing in action. squinting, or false-sighted, who see on both sides, or over and under, certainly denotes a deceitful, crafty person, not easily deceived, mistrustful, and not always to be trusted; one who willingly avoids labour when he can, indulging in idleness, play, usury, and pilfering. Small and deep sunken eyes are bold in opposition; not discouraged, intriguing, and active in wickedness; capable of suffering much. Large eyes denote a covetous greedy man, and especially when they are prominent. Eyes in continual motion signify short or weak sight, fear and care. The winking eye denotes an amorous disposition, foresight, and quickness in projecting. The down-cast eye shews shame and modesty. Red eyes signify courage and strength. Bright eyes, slow of motion, bespeak the hero, great acts, audacious, cheerful, one feared by his enemies."

It will not be expected I should subscribe to all these opinions, they being most of them ill founded, at least ill defined.

The Eyebrows.

Eyebrows regularly arched are characteristic

of feminine youth; rectilinear and horizontal, are masculine; arched and the horizontal combined, denote masculine understanding, and feminine kindness.

Wild and perplexed, denote a corresponding mind, unless the hair be soft, and they then signify gentle ardour.

Compressed, firm, with the hairs running parallel, as if cut, are one of the most decisive signs of a firm, manly, mature understanding, profound wisdom, and a true unerring perception.

Meeting eyebrows, held so beautiful by the Arabs, and by the old physiognomists supposed to be the mark of craft, I can neither believe to be beautiful, nor characteristic of such a quality. They are found in the most open, honest, and worthy countenances. It is true, they give the face a gloomy appearance, and perhaps denote trouble of mind and heart.

Sunken eyebrows, says Winkelmann, impart something of the severe and melancholy to the head of Antinous.

I never yet saw a profound thinker, or even a man of fortitude and prudence, with weak, high eyebrows, which in some measure equally divide the forehead.

Weak eyebrows denote phlegm and debility, though there are choleric and powerful men who have them; but this weakness of eyebrows is always a deduction from power and ardour.

Angular, strong, interrupted eyebrows, ever denote fire and productive activity.

The nearer the eyebrows are to the eyes, the more earnest, deep, and firm the character.

The more remote from the eyes, the more volatile, easily moved, and less enterprising.

Remote from each other, warm, open, quick sensation.

White eyebrows signify weakness; and dark brown, firmness.

The motion of the eyebrows contains numerous expressions, especially of ignoble passions, pride, anger, and contempt.

CHAP. IX.

Of the Nose.

I HAVE generally considered the Nose as the foundation or abutment of the brain. Whoever is acquainted with the Gothic arch will perfectly understand what I mean by this abutment; for upon this the whole power of the arch of the forehead rests, and without it the mouth and cheeks would be oppressed by miserable ruins.

A beautiful nose will never be found accompanying an ugly countenance. An ugly person may have fine eyes, but not a handsome nose. I meet with thousands of beautiful eyes before one such nose; and wherever I find the latter,

it denotes an extraordinary character.

The fol

lowing is requisite to the perfectly beautiful

nose:

Its length should equal the length of the forehead. At the top should be a gentle indenting. Viewed in front, the back should be broad, and nearly parallel, yet above the centre something broader. The button, or end of the nose, must be neither hard nor fleshy, and its under outline must be remarkably definite, well delineated, neither pointed nor very broad. The sides seen in front must be well defined, and the descending nostrils gently shortened. Viewed

in profile, the bottom of the nose should not have more than one-third of its length. The nostrils above must be pointed; below, round, and have in general a gentle curve, and be divided into two equal parts, by the profile of the upper lip. The sides, or arch of the nose, must be a kind of wall. Above, it must close well with the arch of the eyebone, and near the eye must be at least half an inch in breadth. Such a nose is of more worth than a kingdom. There are, indeed, innumerable excellent men with defective noses, but their excellence is of a very different kind. I have seen the purest, most capable, and noblest persons, with small noses, and hollow in profile; but their worth most consisted in suffering, listening, learning, and enjoying the beautiful influences of imagination; provided the other parts of the form were well organized. Noses, on the contrary, which