"As the foregoing causes will make durable impressions, so will the adventitious occasion transitory ones, while their power remains. The latter are more apparent than the signs of the countenance at rest, but may be well defined by the principal characteristics of the agitated features; and, by comparison with countenances subject to similar agitations, the nature of the mind may be fully displayed. Anger, in the unreasonable, ridiculously struggles; in the self-conceited, it is fearful rage; in the noble minded, it yields and brings opponents to shame; in the benevolent, it has a mixture of compassion for the offender, moving him to repentance.

"The affliction of the ignorant, is outrageous; of the vain, ridiculous; of the compassionate, abundant in tears, and communicative; of the resolute, serious, internal, the muscles of the cheeks scarcely drawn upward, the forehead little wrinkled.

"The love of the ignorant, is violent, eager; of the vain, disgusting, is seen in the sparkling eyes, and the forced smile of the forked cheeks, and the indrawn mouth; of the tender, languishing, with the mouth contracted to intreat; of the man of sense, serious, stedfastly surveying the object, the forehead open, the mouth prepared to plead."

"In a word, the sensations of a man of fortitude are restrained, while those of the ignorant degenerate into grimace. The latter, therefore, are not the proper study of the artist, though they are of the physiognomist, and the moral teacher, that youth may be warned against too strong an expression of the emotions of the mind, and of their ridiculous effects.

"Thus do the communicative and moving sensations of the benevolent, inspire reverence; but those of the vicious, fear, hatred, or contempt.

"The repetition of passions engrave their signs so deeply that they resemble the original stamp of nature. Hence certainty may

be deduced that the mind is addicted to such passions. Thus are poetry and the dramatic art highly beneficial, and thus may be seen the advantage of conducting youth to scenes of misery and of death.

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Frequent intercourse forms such a similarity between men, that they not only assume a mental likeness but frequently contract some resemblance of voice and feature. I know several examples of this.

"Each man has his favourite gesture, which might decypher his whole character, might he be observed with sufficient accuracy to be drawn in that precise posture.

The collection of such portraits would be excellent for the first studies of the physiognomist, and would increase the utility of the fragments of Lavater tenfold.

"Of equal utility would be a series of drawings of the motions peculiar to individuals. The number of these in lively men is great, and they are transitory. In the more sedate they are less numerous, and more grave.

"As a collection of idealized individuals would promote an extensive knowledge of men of various kinds of mind, so would a collection of the motions of a single countenance promote a history of the human heart, and demonstrate what an arrogant, yet pusillanimous, thing the unformed heart is, and the perfection it is capable of from the efforts of reason and experience.

"What a school for youth, to see Christ teaching in the temple; asking, Whom seek you? agonizing in the garden; weeping over Jerusalem; expiring on the cross. Ever the same God-man! Ever displaying, in these various situations, the same miraculous mind, the same stedfast reason, the same gentle benevolence.

"Cæsar jesting with the pirates, when their prisoner; weeping over the head of Pompey; sinking beneath his assassins, and

casting an expiring look of affliction and reproach, while he exclaims-et tu Brute?

"Belshazzar feasting with his nobles; turning pale at the hand-writing on the wall.

"The tyrant, enraged, butchering his slaves; and, surrounded by condemned wretches intreating mercy from the uplifted sword, pronouncing a general pardon.

"Since sensation has a relative influence on the voice, must not there be one principal tone, or key, by which all the others are governed; and will not this be the key in which he speaks, when unimpassioned; like as the countenance at rest contains the propensities to all such traits as it is capable of receiving?

"These keys of voice a good musician, with a fine ear, should collect, class, and learn to define, so that he might place the key of the voice beside any given countenance, making proper allowances for changes, occasioned by the form of the lungs, exclusive of disease. Tall people, with a flatness of breast, have weak voices.

"This thought, which is more difficult to execute than to conceive, was inspired by the various tones in which I had heard yes and no pronounced.

"The various emotions under which these words are uttered, whether of assurance, de

cision, joy, grief, ridicule, or laughter, will give birth to tones as various. Yet each man has his peculiar manner, correspondent to his character, of saying yes, no, or any other word. It will be open, hesitating, grave, trifling, sympathizing, cold, peevish, mild, fearless, or timid. What a guide for the man of the world; and how do such tones display or betray the mind!

"Since experience teaches us that, at certain times, the man of understanding appears foolish, the courageous cowardly, the benevolent perverse, and the cheerful discontented, we might, by the aid of these accidental traits, draw an ideal of each emotion; and this would be a most valuable addition, and an important step in the progress of physiognomy.