The more certainly and perfectly these differences are understood, the more highly will the student think of human nature, he will examine man with a deeper reverence, and discern his character more distinctly.

Next, carefully study the parts, their connection, combination, and proportion. Read the Encyclopedie, Durer, or any other author; but confide not in books, examine, measure, thy own proportions: first alone, afterward in company with a penetrating, unprejudiced friend; then let him, or some other, measure thee, without interference.

Attend to two things in measuring the proportion of the parts, which, in my opinion, have not hitherto been accurately distinguished, by any person who has considered proportion; and the want of which distinction has occasioned so many distortions in drawing, and so many erroneous judgments concerning the very regular works of God, in all their apparent exceptions; that is, attend to the difference between right lined and curve lined proportion, for this is the very key to physiognomy. If the parts of the countenance, if the limbs are proportionate, according to right lined, perpendicular, admeasurement, the man is then beau

tiful, well formed, intelligent, strong, firm, noble, in a superior degree. All this he also may be, although his parts and members, according to appearances, vary from this proportion. For this proportion may, notwithstanding, be found, according to curve lines, but it is to be remarked that rectilinear proportion is, in its nature, more advantageous and indestructible.

Being once well acquainted with the parts of the body, their connection, and proportion; and so perfecly as to discover, at the first glance, in each lineament, whatever is disproportionate, defective, superfluous, whatever is distorted, or misplaced; and to explain these things to others; having obtained certainty in the eye, and a perspicuity of exquisite discrimination, which is the great sensorium of physiognomy; then, first, may the student venture attentively to observe individual character.

He should begin with such countenances as are remarkable, in form, and in character; should examine men whose features are unambiguous, positive, obvious.

Let him, for example, choose a man of extraordinary powers of mind, an idiot, a person of exquisite sensibility, or a cold, hard, insensible, man of iron.

Let him study the remarkable character he selects, as if he had that alone to study. First generally, afterward in all its parts; describe the whole form, and each particular feature, in words, as if to a painter, who was to draw a picture of the person. After this description, let the person sit, if it be practicable, to the student, as he would to the painter. Begin with his stature. Then give the proportions; first the apparent, as measured according to perpendicular and horizontal lines; proceed afterward to the forehead, nose, mouth, chin, and especially to the figure, colour, position, size, and depth of the eyes.

Having finished the description, examine it word by word, line by line, with attention, while the person is present. Carefully enquire if nothing be wanting, nothing superfluous; if all is truth, all accurately expressed. Draw the figure of the person, when he is absent, according to this description. If the student cannot produce a general resemblance of character, he has not well described, nor well observed; has not observed as a student in physiognomy ought to observe. That this kind of exercise may become more perfect, a habit must be acquired of studying any countenance, so as

to seize, and deeply impress, its most prominent features on the memory, in a few moments. My method is first to examine the form, whether it be round, oval, square, or angular, and under what general figure it may be most properly classed.

Having observed the full face, I next examine the profile, perhaps by dividing it into two parts. I then define its perpendicular length, according to the three customary divisions, and remark its perpendicu lar variations: then the relative position of these three parts, the forehead, the nose, the chin. This I can the easier do if I imagine a right line, passing from the extreme point ́ of the upper lip, immediately under the nose, to the point of the deepest part of the cavity under the forehead, by which this relative position, in all countenances, naturally divides itself into three principal sections: the perpendicular, the line projecting at the lower point, or the line projecting at the upper point. Without having such simple and determinate rules it will never be possible for the imagination to retain the true form of the head, physiognomonically accurate. I must here also remark, to young painters, that, unless they precisely notice these two fixed points, it will scarcely be

possible for them ever to delineate a countenance physiognomonically.-Having impressed these two points in my memory, I more minutely consider, first, the forehead; afterward the eyebrows, the space between the eyes, the descent to the nose, the nose itself; then the indescribably characteristic space between the tip of the nose and where it joins the lip, which can only be of three kinds. It must form a right, an obtuse, or an acute, angle. I next remark whether the upper or under side of this angle be the longest: afterward I examine the mouth, which, likewise, in the profile, can only have three principal forms. The upper lip is either over the under, even to it, or projecting beyond it. In like manner must the chin be measured and classed. The line descending to it will either be perpendicular, projecting, or retreating; and the line formed by the under part of the chin will either be horizontal, ascending, or descending. I, also, particularly remark the form of the jaw-bone; how far it is, or is not, left visible by the muscular parts, which often is most decisively significant. I estimate the eye, first, by its distance from the root of the nose, next, according to its size, colour, the curve of the upper and lower parts of the