ADDITIONS.

I.

THIS outline, from a bust of Cicero, appears to me an almost perfect model of congeniality. The whole has the character of penetrating acuteness, an extraordinary though not a great profile. All is acute, all is sharp-Discerning, searching, less benevolent than satirical, elegant, conspicuous, subtle.

II.

ANOTHER Congenial countenance; too evidently nature for it to be ideal, or the invention and composition of art. Such a forehead does not betoken the rectilinear but the nose thus bent. Such an upper lip, such an open, eloquent, mouth. The forehead does not lead us to expect high poetical genius; but acute punctuality, and the stability of retentive memory. It is impossible to suppose this a common countenance,

III.

THE forehead and nose not congenial. The nose shews the very acute thinker. The

lower part of the forehead, on the contrary, especially the distance between the eyebrow and eye, do not betoken this high degree of mental power. The stiff position of the whole is much at variance with the eye and mouth, but particularly with the nose,―The whole, the eyebrow excepted, speaks a calm, peaceable, mild character.

IV.

STRONGLY impressed with the character of truth; all is exact, all harmonious; a plenitude of activity, of numerous talents.-Between the eyebrows, only, is there something foreign, empty, insipid. insipid. The eyebrows, likewise, are too weak, too indefinite, in this, otherwise, strong countenance, the power and fortitude of which might easily degenerate into vanity and obstinacy.

V.

THE harmony of the mouth and nose is selfevident. The forehead is too good, too comprehensive, for this very limited under part of the countenance. The whole bespeaks a harmless character; nothing delicate, nor severe.