complexion is beautiful, his limbs firm, h countenance is comely, and beard ornamental By imitating his body, the Greeks have though proper to honour their deities."

Why am I not able to speak with sufficient force? Oh! that I could find faith enough with my readers, to convince them how frequently my soul seems exalted above itself, while I con template the unspeakably miraculous nature of the human body! Oh! that all the languages of the earth would lend me words, that I might turn the thoughts of men, not only to the contemplation of others, but, by the aid of these, to the contemplation of themselves! No antiphysiognomist can more despise my work than I myself shall, if I am unable to accomplish this purpose. How might I conscientiously write such a work were not such my views? If this be not impulse, no writer has impulse. I cannot behold the smallest trait, nor the inflexion of any outline, without reading wisdom and benevolence, or without waking as if from a sweet dream into rapturous and actual existence, and congratulating myself that I also am a man.

In each the smallest outline of the human body, and how much more in all together, in each member separately, and how much more in the whole body, however old and ruinous the building may appear, how much is there contained of the study of God, the genius of God, the poetry of God? My trembling and agitated breast frequently pants after leisure to look into the revelations of God.

2.

"Imagine to thyself the most translucent water flowing over a surface, on which grow beauteous flowers, whose bloom, though beneath, is seen through the pellucid waves; even so it is with the fair flower of the soul, planted in a beauteous body, through which its beauteous bloom is seen. The good formation of a youthful body is no other than the bloom of ripening virtue, and, as I may say, the presage of far higher perfection; for, as before the rising of the sun, the mountain tops are gilded by his rays, enlivening the pleasing prospects, and promising the full approach of day, so also the future maturity of an illustrious soul shines through the body, and is to the philosopher, the pleasing sign of approaching happiness.'

CHAP. XXXVIII.

Extracts from a Manuscript by Th——.

"THE relation between the male and female countenance is similar to that between youth and manhood. Our experience, that the deep, or scarcely visible outline is in proportion to the depth or shallowness of thought, is one of

the

many proofs that nature has impressed such forms upon her creatures as shall testify their qualities. That these forms or signs are legible to the highly perceptive soul is visible in

children, who cannot endure the deceitful, the tell-tale, or the revengeful; but run with open arms to the benevolent stranger.

"We may properly divide our remarks on this subject into complexion, lines, and pantomime. That white, generally speaking, is cheerful, and black gloomy and terrific, is the consequence of our love of light, which acts so degenerately, as it were, upon some animals that they will throw themselves into the fire; and of our abhorrence of darkness. The reason of this our love of light is, that it makes us ac quainted with things, provides for the soul hungry after knowledge, and enables us to find what is necessary, and avoid what is dangerous. I only mention this to intimate, that in this our love of light originates in our inclination for every thing that is perspicuous. Certain colours are, to certain animals, particularly agreeable or disagreeable."

What is the reason of this? Because they are the expression of something which has a relation to their character, that harmonizes with it, or is discordant. Colours are the effect of cer tain qualities of object and subject; they are therefore characteristic in each, and become more so by the manner in which they are mutually received and repelled. This would be another immense field of inquiry, another ray of the sun of truth. All is physiognomy!

"Our dislike is no less for every thing which is clothed in dark colours; and nature has

warned animals, not only against feeding on earth, but also on dark-green plants; for the one is as detrimental as the other. Thus the man of a dark complexion terrifies an infant that is incapable of judging of his character.

"So strikingly significant are the members of the body, that the aspect of the whole attacks our feelings, and induces judgments as sudden as they are just. Thus, to mention two extremes, all will acknowledge, at the first aspect, the elephant to be the wisest, and the fish the most stupid of creatures.

"The upper part of the countenance, to the root of the nose, is the seat of internal labour, thought, and resolution; the under, of these in action. Animals, with very retreating foreheads, have little brain, and the reverse.

"Projecting nose and mouth betoken persuasion, self-confidence, rashness, shamelessness, want of thought, dishonesty, and all such feelings as are assembled in hasty expression."

contemn.

This is a decision after the manner of the old physiognomists, condemning, and indefinite. "The nose is the seat of derision, its wrinkles The upper lip, when projecting, speaks arrogance, threats, and want of shame; the parting under lip, ostentation and folly. These signs are confirmed by the manner and attitude of the head, when drawn back, tossed, or turned round. The first expresses contempt, during which the nose is active; the latter is a

M

proof of extreme arrogance, during which the projection of the under lip is the strongest.

"The in-drawn lower parts of the countenance, on the contrary, denotes discretion, modesty, seriousness, diffidence, and its failings are those of malice and obstinacy."

Not so positive. The projecting chin is much oftener the sign of craft than the retreating The latter is seldom scheming and enterprizing

"The straight formation of the nose betoken gravity; inbent and crooked, noble thoughts The flat, pouting upper lip, when it does no close well with the under, signifies timidity; the lips resembling each other, circumspection d speech.

"We may divide the face into two principa kinds. The first is that in which the cheeki present a flat surface, the nose projecting like t hill, and the mouth has the appearance of i sabre wound, prolonged on an even surface, while the line of the jaw-bone has but little inflection. Such a form makes the countenance more broad than long, and exceedingly rude, inexpressive, stupid, and in every sense confined. The principal characteristics are obstinacy and inflexibility.

"The second kind is, when the nose has a sharp ridge, and the parts on both sides make acute angles with each other. The cheek boneare not seen, consequently the muscular partbetween them and the nose are full and promi