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forms and actions; on cause and effect; ou traits and characters; on signs and correspondencies, as shall confirm them in the principles, and endear them to the practice of physiognomical investigation.

SECTION V.

A CONCISE VIEW OF THE PROGRESSION OF IN

TELLECT; AND OF THE GRADATIONS, AND
EFFECTS OF INSTINCT AND REASON, DRAWN
FROM AN ANALYZATION OF THE FACIAL LINE,
IN THE RESPECTIVE PHYSIONOMIES OF MEN

AND BRUTES.

HOW shall I trace the mighty chain of universal being? Who can tell by what nice and subtle gradations the various parts of animated nature are distinguished, united, or separated?

From the lowest, and most inert, portion of the animal creation, to the highest order of created intelligence, there, doubtless, exists in each, some relation, some occult connecting link, that creates a sort of universal affinity be

tween the respective branches of the whole : and yet it cannot be doubted, but that every individual animal has, within itself, all those perfections, and capabilities, that are essential to its own separate existence. So that, although there is a mutual dependance of each, as a part of the great whole; yet, in the all-perfect mind, every form, every existence, every substance, and every creation was contemplated, in fact, long before those forms assumed

A local habitation and a name.

The work of a perfect Being must be itself perfect; and whatever are the subordinate uses of each in connection with its fellows, it cannot possibly want any thing essential to its own complete individuality. "And God saw every thing that he had made, and behold it was very GOOD. From the lowest to the highest; from

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the least to the greatest, all was GOOD: all complete; and still, in the eye of philosophy, they so remain,

As full, as perfect, in vile man that mourns,
As the rapt seraph, that adores and burns.

Yet there are distinctions and gradations most manifest and obvious, both in the corporeal and the intellectual capacities of animals, which distinctions, I contend, are strictly characteristic. In man we have already noticed some of the corporeal traits of intellectual endowments; it is the object of this section to delineate the physical signs by which intellect is indicated in its progression from brutes to

man.

In the performance of this task, I shall adopt the usual course of illustration, by what is called the FACIAL LINE, though I am free to confess, that this method of ascertaining the power of intellect is not always to be relied

upon.

Before, however, we proceed to details, I cannot but notice the hypothesis recently pro

mulgated by the ingenious Mr. Charles Bell, in his very excellent and beautiful work on the ANATOMY OF EXPRESSION IN PAINTING. I do this the more gladly, because Mr. Bell, without meaning it, perhaps, has borne most ample and unequivocal testimony to the truth of Physiognomy.

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Alluding," says Mr. Bell, "merely to the evidence furnished by anatomical investigation, all that I shall venture to affirm is this, that a considerable difference is to be found between the anatomy and range of expression in man and in animals; that in the former, there seems to be a systematic provision for that mode of communication and that natural language, which is to be read in the changes of the countenance; that there is no emotion in the mind of man which has not its appropriate signs; and that there are even muscles in the human face, to which no other use can be assigned, than to serve as the organs of this language: that on the other hand there is in the lower animals no range of expression which is not fairly referable

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