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a just opinion whenever I am required to do so. Yet you are indulgent enough to grant that I may be unconsciously guilty of acting thus: this is dealing with me with more mildness than I am accustomed to; but from you 1 expect it, and demand that you should not rely upon mere promises, but not shut your eyes to conviction, when I am able to make good all I have advanced. Atall events it will then be time enough to brand || me with the epithet of mad, and to feel the sen timent of pity, which the sight of mental derangement always produces. Yet every one falls into some kind of folly, and if we were to scrutinize with impartiality into the generality of mankind, we should find that the follies of men are sometimes the most valuable part of their characters. Mine is that of studying physiognomies, but it is far from dangerous; it leans more in favour of the good than it turns against the bad; I become better acquainted with my fellowereatures, and no more expect to meet with per-. fection among them; I compare their defects together, and excuse those which deserve forgiveness, for who can know better than a physiegnomist those that are entitled to our pity and indulgence? He is entrusted with the secret of nature; she alone guides his judgment, and teaches him to require no more of every individual than the virtues which have fallen to his lot. He may succeed also in bringing those virtues to light, in inspiring their possessors with self-confidence, exalting their courage, and raising them to a pitch of elevation which they never had any hope to reach.

LETTER II.

I finished my last by remarking how difficult it was to give an exact definition of physiognomy, according to the idea I have formed of it; I know that it is generally said, that whatever we understand perfectly we can easily explain; yet it is not now the case. I see plainly the object I want to describe, but find no words to express myself. It often happens that a skilful artist descries in a work beauties and defects, which he strives in vain to expose to the view of others. It is ne. cessary to be in some degree acquainted with an art before we can understand the language of those who are proficient in it; whilst we seize easily the meaning of any science of which we have already conceived an idea, and the study of which is the result of our own inclination Those who stand in the two situations I have last mentioned, will immediately dive into the mystery of a new discovery, and explain it without the assistance of others; while those who are totally deprived of information on that subject (and they form the largest part of the community) will deride physiognomy, because they do not comprehend the precepts given them, and are ashamed at their want of capacity.

To me it seems plain that every thing has its physiognomy, and this is my way of reasoning: every man who excels in any art is able to determine at the first glance the value, and the good and bad qualities of an object which falls within the reach of the profession to which he belongs, though he had never seen it before; and in this It is necessary to give you a description of case it is habit, and his natural talent, that prewhat is called physiognomy, and this is the most vents him from erring. A skilful gardener, for difficult part of the task you have imposed upon instance, without opening the fruits that hang me. It does not consist in the appearance, the before him, will tell you whether they be sound face, the mein, or features; for I have seen and ripe; and if every thing have its physiogpeople extremely like each other, while their nomy, why should men be deprived of it? If physiognomies expressed different passions. If that of inanimate things never deceives our obI were to recur to etymology, I should find in servations, why should that of men be more falthe two Greek words that compose the name of lacious? and, to bring the weighty authority of this science, a plain explanation of its meaning, Aristotle into the question, I will quote the PHUSEOS NOMOs, means the law of nature; and, comparison he employed: "If hunters can according to my doctrine, physiognomy is no- trace the qualities of dogs in their physiognothing more than the law, the exact rule by mies, why should we not gather from the feawhich nature has enabled us to judge of human- tures of our fellow-creatures the knowledge of kin. You will ask which is this rule, in what their virtues and vices?" If it be granted that does it consist? I can only answer that it is a man possesses a physiognomy, it must be senwritten on the face of man, on its different feasible; if so, it must be in our power to dis tures, and strikes my eyes whenever I behold a human being without its being in my power to unveil it easily to others. As we proceed, I hope to make discoveries which will assist me in unfolding what now may seem obscure; but as this letter is already so long, I will not anticipate the precepts which I am about to lay before you, and keep this store of instruction to fill up my next,

cover and explore it.

Nature, who never produces any useless object, would not have created it, to conceal it from our view; and even had such been her plan, she could not have put it into execution; for it is the external representation, or if you prefer this definition, the living and visible expression of all the principles, which constitute a human

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being; it would have been as utterly impossible to hide this reflection of the mind as to appear tall when our stature is low. It is with the composition of man, as with that of those balsams which must be annihilated before the perfumes they exhale can lose their powers; you must érush a looking glass to atoms, else every particle will still reflect your visage; physiognomy is a looking-glass which will never present you with the vain illusions created by vanity, or other equally powerful passions; in it you will descry even the secret attempts made by men to conceal their emotions; it never mixes together what proceeds from nature with the productions of art; the most fleeting alteration, the slightest whim, or burst of ill-bumour, will lie unfolded before you. The eyes of those who have studied this science cannot be deceived by the stratagems made use of by persons on their guard, and they perceive the difference that subsists between dissimulation and openness, as between the rouge that bedaubs the cheeks of a fashionable lady and the roses strewed by health on the face of youth. I am now almost persuaded, that the surest and only means of truly knowing men, is to observe their physiognomies; they are at liberty to alter their sentiments in conversation, and their conduct depends upon the circumstances in which they are involved, but their physiognomy alone reveals their real character. The changes apparent in their behaviour during the course of their existence are only external, they remain the same, and people wonder at their sudden metamorphoses, only because they had not examined their physiognomy, which would have represented them such as they were.

I should think I had committed some gross error in my observations, did I hear something I did not expect from a person whose features I had scrutinized; but this information does not inspire one with a greater share of esteem or contempt for individuals, for I do, not require from them, or lay to their charge, what is not in their power to possess or avoid. I am sometimes amused with the situations in which my imagination places certain persons, and makes them perform actions suited to the expression of their features, and I have frequently had the pleasure of hearing them acknowledge, when I had informed them of what I had done, that in similar circumstances they would have probably followed the same line of conduct. Striking events have also confirmed the opinions I had formed, and experience having crowned my calculations with success, my habit of trusting in physiognomies is become so strong that it would prove useless to try to shake it off.

I never let the relations of others influence my judgment; they may waste their eloquence in

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warin praises or satirical remarks, I never pass a sentence upon a man till I have seen his face. But what do you perceive in his face, you will say, features common to all men, and which only vary in their colour and their proportions? This is true; but you will soon allow that from this variety in the complexion and the proportions, an expression may proceed which belongs to one man in particular, for two human beings exactly alike have never been found, and which gives us an insight into the most hidden part of his cha

racter.

The talent of a physiognomist is a free gift from nature; those who are endowed with it, are sometimes unconscious of the treasure they possess till opportunities occur when it begins to unfold, and then, in a short time, they equal those who have tried to acquire it through the most indefatigable labours. Many also, though conscious of their talent, are too timid to make any use of it, being blinded by prejudice upon their own opinions, when even they are just. It was chance that has led me to believe I had been favoured with a small portion of it; and far from letting it slumber, I have cultivated, and I hope improved it. Though it be a free gift of nature, it may be improved by art and application, and it is sufficient to succeed in one instance to lay down a rule which seldom misleads us, but which every one must find out and compose for himself, as it is the fruit of a natural instinct, which it would be difficult not to understand and obey. The only advantage which art and application can produce, is a greater facility and quickness of judgment, which fills the vulgar with astonishment. This science is a fruitful source of never failing enjoyments, flowing from the abundant diversity of characters, which surpasses that of features; what attracts your observation to-day, will give place to other subjects fit to awaken the most interesting remarks to-morrow. Physical nature is almost unbounded, but considered under a moral point of view, no limits can be fixed to the immensity of her extent; and in the wide field of physiognomy, we do not only be hold what passes continually before us, but what may in a future time follow. Recollect what pleasure you felt at, when you asked my opinion of the persons who composed our company, most of whom I then saw for the first time in my life, and my answers coincided exactly with the reality. With a taste for this science it is impossible to become acquainted with ennui; and though now less enger after discoveries, I am still fond of being introduced to new persons, with the love of finding some food for my favourite passion; and I often return delighted with the instruction I have collected, without giving birth to any suspicion. I do not mean

those discoveries which relate only to accidental | encroached upon your patience, and must plead passions, and the distinctions which I create be- my excuse, as the wish of kindling the same tween the energy of the mind and that of the enthusiasm for physiognomy in your soul, has body, between those who have formed their wit alone rendered me guilty. and those whom wit has taught, but I mean those which serve to establish my doctrine on a firmer basis. But I did not perceive how far I had

E. R.

[To be continued.]

1

ON THE ART OF DRAWING.

[Continued from Page 149.]

The pupil has not been able to give the beautiful forms of these sublime, simple, and elegant figures, with becoming spirit; the masterly touch of the original appears coarse and uncouth from the juvenile hand; possibly the figures themselves are deemed antiquated, unnatural, or use

get to do something pretty, something fit to put behind a glass? who would go to the expence of framing that great head you call Elynas the Sorcerer, with those rough strokes, I suppose meant for a beard, ll over his face."

This sketch will, it is hoped, shew the necessity of giving a discretionary authority to the master, as to the objects principally to be pursued by the

the youth has an inclination and promptitude; and to rely wholly on the master's judgment to find out and improve the bend, or bias, of his scholar's genius.

AMONG the many who resort to the drawing || more are bestowed in drawing after the admired school for instruction, it may be remarked that productions of this transcendent genius-and the few, very few, carry with them the idea of acquir- || satisfaction is often no greater! ing a competent knowledge of any particular branch of the art; they go to learn to draw; their parents, relatives, or friends, wish them to learn, because it is an elegant accomplishment, and the youth must have a general notion of what all the world admire. The ladies especially are delivered to the master with the most inde-less. "Why," says the matron, "don't you finite and perplexing directions; they are to learn to draw the eye, the nose, the mouth, and the head; hands, feet, and whole figures, flowers, fruit, and landscapes; any thing, and every thing; | to draw in pencil, chalks, red, black, and white, in India ink, and in colours; but is the whole of this possible? does it not require a very different turn of thought to study the human figure from what is requisite to acquire just ideas of propor-pupil; to discover for what particular subjects tion in animals, in edifices, in trees, or in flowers? Often in vain the master enquires what the pupil is directed, or wishes to draw; the friends have given no particular direction, and the pupil is indifferent about it: and not less frequently The objects of this art are inconceiveably vahe gives dissatisfaction, either to the scholar or torious; and surprisingly different are the several the friends, by setting before the youth what it may happen he does not readily acquire, or what is not, when done, remarkably striking to the party principally to be pleased. This is mortifying to the instructor; and it is discouraging to the pupil when the labour perhaps of six months is taken home, and the whole is condemned in the lump "What," says the old gentleman, "am I to pay so much for the boy to be able to make a barn, or an out-house? why did he not learn to do history, or something of caricature, that he might enter tain himself or his friends? Ah! you will never make a Michael Angelo, or a Bunbury, if you do not draw something else besides pig-sties and dog-kennels." Well, the lad desires to copy the requisite subjects, to qualify him for making | a figure. Examples from Raphael are, among artists, confessedly most excellent studies for the pupil, and even for the proficient. Six months

manners in which the different subjects may be treated with propriety; amid this variety, it will rarely happen but that some subjects may be hit upon, or selected, in which every one may make a considerable proficiency; but general excelfence is the happy lot of very few upon the long catalogue of artists of the highest reputation; it is the result of long experience and practice, or the peculiar distinction of an universal genius. We have but one; rarely we meet with one who handles subjects with equal facility, or in a style above mediocrity, and who attains to a decided pre-eminence in any branch of the art.

It is therefore highly important to the learner, that his master be duly apprised of the objects deemed necessary for him to study; and that the whole attention be unremittingly directed towards these objects only. The most beneficial advantages will speedily accrue from thus, as it

were, concentrating the mental powers; they will penetrate to the theory on which practice is founded; and this farther satisfaction will result, the accurate investigation of any particular subject will delightfully facilitate improvement in whatever may afterwards come under consideration; while a superficial rambling over the extensive field of art, will leave few lasting impressions on the mind, will produce a knowledge scarce worth the wouble of collecting, because inadequate to any purpose beyond puerile amusement. The prevalent pursuit of the present day is landscape; but what other than puerile amusement for grown people, or absolute ridicule to an artist, can arise from looking over the hasty little sketches of gentlemen who never learned, who have totally forgot, or who never attend to the first rudiments of drawing?

Beautiful they are called, because the objects truly were beautiful; free, because made in a hurry, made in ten minutes, in a post chaise, possibly en passant, perhaps in a shower of rain; should an artist make a sketch in such haste as to be intelligible only to himself, he would put it into form before he exhibited it as a specimen of Gothic architecture, picturesque scenery, or

faithful portraiture of some interesting spot. If a gentleman artist should be an M.D. L.L. D. F. A. S. or F. R.S. or be any ways connected with the editor, printer, or publisher, of some periodical publication, his beautiful little bits infallibly fall into the hands of an engraver; who if, unfortunately for his own ease, he knows any thing of drawing, will be perfectly bewildered in the intricacy of delineation; or if, happily, he knows nothing about it except what he may have collected out of a sixpenny drawing book of perspective, the prints may possibly, even in this case, have an advantage of the drawing, by some two of the lines being parallel, and some three, if not more, being drawn to the same point somewhere or other; but the public unfortunately must, in either case, be presented with views of edifices, which the hand of time itself, assisted by the most barbarian ravages (which avowedly produce the most, rude, rough, and picturesque effects), could not render as rude, irregular, and confused, as the beautiful original sketches. Hence to draw like a gentleman, has now ceased to be a recommendation.

(To be continued.)

BRITISH SYNONOMY.

THE impossibility of writing with accuracy | piness of the person in view. A perfidious friend and precision, without a due attention to the may not be wanting in any of the demonstrations specific import of words, having been demon- of friendship, but it is only the real one who strated in the lecture on "The Stricture of furnishes testimonies of it. Language," a list of the principal reputed synonomies, may not be unacceptable to the generality of the readers of LA BELLE ASSEMBLEE. Sensibility, tenderness.-The first relates to sensation, the last to sentiment.

Tenderness is the natural state of the soul, sensibility is its disposition to receive impressions. One attaches by kindness the heart that is sensible; the heart that is tender attaches itself. Tenderness loses none of its force by being always in action; but the vivacity of sensibility is impaired by frequent excitement.

Firmness, constancy.-Firmness is the steady resistance which a strong mind opposes to the temptations that assail it. Constancy is an uniform attachment to the same objects. He who is firm, can neither be seduced by pleasure, nor intimidated by danger: neither the allurements of glory or of riches; neither the fear of disgrace, of hardships, of torture, or even of death itself, can shake the resolution which his judgement and his conscience approve. The constant are not affected by variety; the same inclination draws them always, and equally, towards the same thing. In the time of difficulty and danger, the man of firmness is sustained by his courage, and determined by his reason: the man of constancy has no guide but his heart; he has always the same wants.

Demonstration of friendship, testimonies of friendship.-Demonstrations of friendship are frequent in society, the testimonies of it are rare. The first is confined to the exterior; professions, caresses, anomalous attentions are demonstrations of friendship. They indicate attachment, but Realiz, effect, execute.-These verbs agree in do not prove it. The testimonies of friendship expressing the accomplishment of something are so many irrefragable proofs of its existence; which was intended, but they announce it under they are actions prompted by the unfeigned in-different circumstances. To realize, is to accom. terest which the heart takes in the concerns of plish that which appearances have induced us ta another, and which have the advantage and hap-hope. To effect, is to accomplish that of which

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the expectation was excited by some promise on which we relied. To execute, is to accomplish that of which a regular plan had been traced out. Thus we speak with propriety of realising hopes, of effecting arrangements, and of executing designs.

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extol, is to attribute to the object a great many qualities which it may, or may not possess. To praise, is to express our admiration of some excellence that is apparent. One extols a man's character; one praises his conduct.

Misfortune, accident, disaster. These words

fortune applies particularly to the events which affect the interest. Accident regards what hap pens to the person. Disaster has a more extensive application. It is a misfortune for a man to lose his friend or his property. It is an accident for him to fall and be hurt.. It is a disaster to be suddenly disgraced in the world. One says, a great misfortune, a cruel accident, a frightful disaster.

Forbidden, prohibited. Both these words de-all announce some distressing event; but mis note something which is contrary to an order, or to the law; they differ in this, that it is human laws which prohibit, but divine laws which forbid. Idolatry is forbidden, smuggling prohibited. Discredit, decry.-The last attacks the reputa. tion; the first the credit. One decries a woman in accusing her of indiscretions; une discredits a man of business, in reporting him to be ruined. One decries an ambassador, in saying that he is not entrusted with the usual powers; one diseredits him, in saying that he is destitute of judgment or honour. The jealousy of some authors prompts them to decry others, in order to discredit their opinions.

To invent, to discover.One invents something new, by the force of imagination; one discovers, by research, something which has been concealed. The one marks the fecundity of the mind, the other its penetration. A physician and a philosopher trace effects till they discover their cause. A mechanic is continually exercising his invention. Sir Isaac Newton made many valuable discoveries; Sir Richard Arkwright has produced many useful inventions.

Irresolution, indecision.-We are irresolute in eases where taste or sentiment is to determine; we are undecided when it is reason that should guide us. The irresolute are not sufficiently affected by any object to feel a decided preference for it. The undecided want a motive sufficiently Indolence, supineness, laziness, negligence—Inpowerful to determine their choice. Inde-dolence, proceeds from a deficiency of sensibility; vision proceeds from a want of judgment; irre-supineness, from a deficiency of ardour; laziness, solution from a deficiency of sensibility. We sometimes decide upon measures which we have not resolution enough to carry into effect; and we sometimes resolve to adopt those, on the policy of which we have not decided. The irresolute want a stimulus; the undecided require instruction. To determine the latter, we must have an authority over the mind; to determine the former, we must have an influence upon the soul.

Metaphor, simile, allegory.-A metaphor is a simile expressed in an abridged form. An allegory is a metaphor continued. A metaphor is a figure founded entirely on the resemblance which one object bears to another: thus we say of a minister, whose wisdom and talents have greatly benefited his country, that he is the pillar of the state. A simile or comparison requires more words: we employ a simile when, speaking of such a minister we say, that he upholds the state, like a pillar that supports the whole edifice; or, that he is a pillar to the state. The words as or like, are the signs of simile. An author who indulges himself much in the use of metaphor, sometimes carries it so far that it becomes an

allegory.

To extol, to praise. We extol a person in order to procure him the esteem of others, or to extend his reputation. We praise him to testify the esteem which we ourselves feel for him. To No. XVI. Vol. II.

from a deficiency of activity; and negligence, from a deficiency of care. Nothing moves the indolent; they are without passions and without impulses. It is difficult to animate the supine; they proceed slowly and faintly with whatever they attempt. The love of inaction renders the lazy indifferent to all the advantages which they might reap from exertion. The negligent attend to nothing; they forget all that they are enjoined, and are incapable of doing any thing with exactness. İndolence enfeebles the powers of the mind. Supineness dreads fatigue. Lazinesss huns trouble. Negligence creates delays, and profits not by opportunities.

Coward, poltroon.—A coward recedes; a poltroon dare not advance. The first does not defend himself; he is deficient in valour. The second attacks not; he is deficient in courage. We must never recur upon the assistance of a coward, or the support of a poltroon. &

Declare, discover, manifest, reveal, disclose.All these words indicate the communication of something previously unknown; but the word declare, implies a communication made with a design; to discover, is to show, either from design or inadvertence, something which had been concealed; to manifest, is to render evident what was before doubtful; to reveal, is to make public what we are bound in honour to conceal; to dis close, is to mention the name of a person who

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