E
S
S
AYS
ON
PHYSIOGNOMY.
VOL. II. PART II.
CONTENTS OF VOLUME II. PART II.
PAGE
XII. PRAGMENT. Of the art of portrait painting - - 239
Infant artist measuring a bust - - 246
ADDITION. Gradation ot if eisions, according to the different
merits of a portrait - - 247
XTIl. PRAGMENT. Portraits - - . 250
A. M'inkchnann - - - ib.
B. Mengs - - - 252
C. -(Lebec) - - . 253
D. C. A. U. d. .S. Wr. (duke of Weymar) - 254
Same subject, silhouette - - 255
E. Ditto ditto, a front view - - 256
F. W . . . . r (Wocher) - . 257
G. K-(Kauffinann) - - 258
H. Malvieu - - - . 259
I. Quesnoy - - - 260
K. Hartmann - - . 26I
L. Sir Tliomas More - - 262
M. Count Stadion - - - 264
N. Portrait not known - - 269
o. - - - - 270
P- - - - 271
Q- - - - - 272
R- - - - - 273
S. (Breitinger) - - . 274
T. - - - 275
V. (Bentivoglio) - - . 276
X. - - - 277
VoL. II. Part II. a Y. The
FR AGMEK"!.
ADDITIONS.
Y.
Z.
AA.
BB. -
A. Brutus
B. lYary the sister of Martha
C. St. John
D. Satan
E. The death of Abel
The magician Balaam
Group; the horrible and pathetic, a real scene
Witch of Endor—below is the image of Calmness
and Yusdom
I. Four faces, the idea taken from Dantb’s hell
K. Salome
L. Patriarch bestowing his benediction
M. Head of Christ - -
N. Knight, who has just assassinated his mistress
Copy after Raphael, fioin memory
These last fourteen all after Fuseli.
Of the homogeneousness of all the individuals
the human species
A. Portrait vignette
B. Ditto ditto
C. Cicero ditto
D. Gribeldon, the painting faiiw, vignette
E. A homogeneous face ditto
F. Portrait of the son of Lavater’s shoemaker, vignette
G. Ditto ditto
H. Ditto ditto
I. Ditto with false nose ditto
K. Catharine II. empress of Russia, vignette
L. Female portrait (Martha Hess) ditto
M. Ditto (ditto, outline) ditto
N. Ditto of Franklin ditto
Ditto of Sir Richard Steele ditto
Portraits after Van Dyk
Ditto ditto
XY
CONTENTS OF VOLUME II. PART II.
XV. FEAGMENT. Raphael—Introduction
A. Female, after Raphael
B. Ditto, from the Heliodorus of ditto
Duplicate, and head after Guido, vignette
C. The affliction of a good man, after Raphael
Sorrow without Fortitude, vignette
D. Female, after Raphael
-
-
Three faces—vignette by
an inferior pencil
-
E. Head of an Angel, after Raphael
-
-
F. Greek head after ditto
-
-
G. Female ditto and hand
ditto
-
H. Head of an Apostle
ditto
-
I. Ditto of the Virgin
ditto
vignette
-
K. Ditto of Joseph
ditto
ditto
-
L. Infant ditto of Christ
ditto
ditto
-
M. Ditto St. John
ditto
ditto
-
N. Elizabeth, mother of St. John ditto ditto
.
0. St. John Baptist
ditto
ditto
-
P. Virgin and Child
ditto
-
-
Q. Clemency
ditto
-
-
R. A prophet of the highest rank, and young figures,
after Raphael, vignette
S. Five figures from the sacrament of ditto, vignette
T. Five more from the same ditto
Boy from the school of Athens ditto ditto
V. Nine more from the sacrament ditto ditto
X. Female,attention mixed with astonishment,ditto ditto
Y. Miraculous draught of fishes ditto ditto
Z. Last supper ditto ditto
St. John, after Holbein - ditto
A A. Christ transfigured, after Raphael
Ditto appearing to the women, vignette
BB. Conclusion. Portrait of Raphael
Four heads, outline, vignette
XVI. FEAGMENT. Of the idt'al beauty of the ancients
Ot beautiful nature and its imitation
ADDITIONS. A. Of the Apollo of the Vatican
B. Silhouette of Apollo
C.
PAGE
324
326
327
ib.
328
ib.
329
ib.
330
331
332
333
334
335
336
337
338
339
340
341
342
344
346
347
348
349
350
352
354
355
ib.
356
360
362
ib.
372
376
CONTENTS OF VOLUME II. PART II.
C. Apollo - - -
D. Of the confirmation of the Greeks (a quotation from
Winkelmann)
E. Three Greek profiles, after Cozens
F. (Supposed caricature of Venus)
Duplicate of ditto, from the statue
G. Three profiles, (supposed Castor and Pollux, and
Appollonius)
H. Three Greek heads
I. Two ditto, outline
Beautiful male figure (lax meditation)
XVII. PEAGMENT. Of the study of Phisioiiomy, Sect. I.
Geometrical figures for determining the principal
forms of the face - - -
Sect. II.
List of engraved portraits
XVIII. PRAGMENT. Detached remarks - - -
PAGE
377
383
384
386
388
389
395
416
433
441
FRAGMENT TWELFTH.
FRAGMENT
TWELFTH.
OF THE ART OF PORTRAIT PAINTING.
Portrait painting is the most natural, the most nohle, and the most
useful of all the Arts—it is at the same time the most difficult, how¬
ever easy it may appear, and ought to be.
Love was the inventor of this divine art. Without love it is reduced
to nothing—and yet where are the lovers who study it 1
The greatest part of our Work, and of the Science which it teaches,
being founded on this art, it is proper to say a few words respecting
it as we proceed.
But this can only be in a cursory manner; for this subject, treated
at full length, would alone furnish a very voluminous Work, equal¬
ly new and interesting. For the honour of humanity and of the Art,
such a Work will, I hope, one day appear.
But it is not fi-om a Painter I expect it, let his ability he ev'er so
great. It belongs to the Physionomist to engage in this undertaking;
but he must be a judicious Physionomist, a man of taste and an Ob¬
server, and, together with this, the friend and confident of a great
Portrait-Painter. Snlzer, that Philosopher whose taste is so exquisite,
who considered the art of portrait-painting as nearly connected with
the interest of humanity—Sulzer, in his Theorij of the Fine Arts has fur¬
nished us with many excellent remarks on this head under the word
Portrait; but the extent of it permitted him not to exhaust a subject
so copious in the separate article of a Dictionary.
Let any one take the trouble to meditate seriously on this art, and
he will see that it is sufficient to employ all the faculties intuitive and
active
240
FRAGMENT TWELFTH.
active of the human mind. This art never can be thoroughly investi¬
gated : it is impossible to carry it to the utmost degree of perfection.
I sliall endeavour to point out some of the principal difficulties
which present themselves in this bianch of painting, and shall distin¬
guish those M hich may be surmounted, from sucb as appear to me
insurmountable. It is of importance to the Artist and the Observer
to be well acquainted with both.
What is the Art of Portrait painting ? It is the representation of a
real individual, or of a part of his body only; it is the reproduction
of our image; it is the art of presenting, on the fiist glance of the eye,
the form of man,'by traits, which it would be impossible to convey
by words.
Goetbius has somewhere said ‘ That the presence of man, that his
‘ face, his physionomy is the best text of all that can be said about
‘ him.’ If it be so, and nothing, in my opinion, can be more certain,
of what importance must be the Art of Portrait painting?
‘ Of all the objects of human knowledge,’ observes Mr. Sulzer, ‘ is
‘ there one more interesting, than the soul endowed with thought and
‘ sentiment ? It is likewise beyond a doubt tben, that the form of man,
‘ without taking into the account the marvelousness of its construction,
‘ is the most interesting of all visible objects.’
Were the Portrait-Painter sensible of this truth; did he feel its im-
])ortauce; were it so familiar to his mind that he had no need of ef¬
fort to give it a full impression ; were he filled with respect for the
masterpiece of the Sovereign Artist: were this sentiment as natural to
him as that of his own existence—how great and noble would his art
a|)pear to him ! The human face would be to him as sacred as the
Text of the Sacred Writings ought to be to the Translator. He would
be anxiously careful, not to alter the M^ork of God, as so many un¬
faithful Interpreters have altered his Word.
Our
OF PORTRAIT PAINTING. 241
Our indignation is excited, and justly, against the bungling Trans¬
lator who disfigures an excellent original, and who fails to convey
the spirit of his Author. The same thing holds good with respect to
the Art of which we are speaking. The soul is painted on the face;
it must be perceived in order to be transmitted to the canvas: and he
who is incapable of catching this expression; never will become a
portrait painter.
‘ Every well painted portrait is an interesting picture, because it
‘ brings us acquainted with the soul and character of a particular in-
‘ dividual. In it we see him think, feel, reason. We discern in it
‘ the peculiar character of his propensities, of his affections, of his
‘ passions; in a word, the good and the bad qualities of his heart and
‘ mind. And in this respect the portrait is even still more expressive
‘ than Nature, in which nothing is permanent, where every thing is
‘ only a rapid succession of movements infinitely varied ; rarely does
‘ Nature present the human face in a light so advantageous as a skil-
‘ ful Painter can procure for it.’
Were it possible to fix in Nature every momentaneous action, if
there existed in it points of rest, it would be easier undoubtedly to ob¬
serve after Nature, than after the portrait. But as the case supposed
cannot possibly exist, men being but too much inclined to withdraw
from the critical eye of the observer, it appears to me evident that an
excellent portrait is in effect, in order to an-ive at the knowledge of
mankind, of greater use than Nature, who only shews herself at in¬
tervals.
‘ Nothing more is necessary to be said, in order to assign to this
‘ Art the distinguished rank which it ought to occupy in Painting. Its
‘ place is immediately by the side of History: and even this last bor-
‘ rows from her sister part of her lustre; for expression, which is the
‘ soul of History painting, will be so much the more natural and ener-
‘ getic, as the Painter has paid more attention to bestow on his cha-
VoL. H. ,3 P ‘ lacters
242
FRAGMENT TWELFTH.
‘ racters physiononiies borrowed from real life. A collection of good
‘ portraits then, is a noble resource for the History-Painter, as it
‘ facilitates to him the study of expression.’
Where is the History-Painter who knows how to represent real cha¬
racters, who knows to give illusion to his Art? It is usually but too
visible that he has been copying copies; and even supposing bis works
to be the fruit of his imagination, we find in them after all only portraits
in fashion, frequently chosen from among our contemporaries, or at
most, from our progenitors.
Th is being laid down, let us now examine some of the difficulties
which the Portrait-Painter may flatter himself with the hope of con¬
quering, in the exercise of his art. I shall explain my ideas with a
frankness which may perhaps give ofience. 1 fear it; but sure I am I
do not mean to offend. I wish to instruct, to lend some assistance to
an art, which is the imitation of the works of God. I wish to con¬
tribute to its progress; and can I do this, without boldly pointing out
its imperfections and faults ? In the philosophical study of man, that
is, an exact, precise, and, at the same time, general knowledge of his
being, most Portrait-Painters are deficient, and this is also the great
fault which offends me in almost all their Works.
Let a Painter of Insects have acquired all possible skill in the art of
design, he will nevertheless paint insects very indifferently, unless he
have a thorough knowledge of their structure and their qualities, in
the combined whole, and the parts in detail. In like manner also,
the Portrait-Painter maj^ be an excellent Copier—a degree of talent,
however, more uncommon than the best Connoisseurs in the art of
design sometimes imagine—he will, notwithstanding, produce bad
portraits, unless he have studied with the greatest attention the struc¬
ture, the proportion, the eonnection, the play of all the gross and de¬
licate parts of the human body, as far as they have a decided influence
on the exterior; unless he has a profound knowledge of the organi¬
zation of every separate member of the body, and of every part of
the
OF PORTRAIT PAINTING. 243
the face. This accurate and extensive knowledge, I consider as ab¬
solutely necessary to the Portrait-Painter ; and yet, I am constrained
to declare, that hitherto I have not met with a single one possessed of
it. And after all I have said on the subject, I myself am very far
from possessing a complete theory of the more subtile, the specific
traits of each sense, of each member, and of each part of the face. I dai¬
ly perceive that this theory so essential, so indispensable, is universally
neglected or unknown ; and, what is still more provoking, that it is
rejected by the best Painters.
In a multitude of persons accidentally assembled, take those who
have the least resemblance ; examine them separately; and you will
see, for example, that independent of differences the most clearly
marked, every ear, every mouth has flexions, angles and traits which
are common to all the individuals, or at least to the greater part.
These traits will be sometimes stronger or weaker, more acute or
moi’e obtuse, but you will find them in every man who is not a
monster, or, at least, whose conformation in that particular trait is
not faulty.
To what purpose then the knowledge of the greater proportions of
the body and of the face?—A knowledge which after all has not been
profoundly investigated, and which certainly very much needs to be
rectified. (A Painter, who is a Physionomist, will one day confirm
this decision : mean-while I subscribe it at my own risk). What pur¬
pose, I say, is served by the knowledge of the greater proportions, if
we neglect to study the subtile and delicate traits, which are quite as
true, universal, precise and significant. It serves no purpose whatever;
and in this respect, the progress made is so trifling, that I defy the al)lest
Painter, after having drawn a thousand portraits, to give us only a to¬
lerably exact theory of the mouth. I do not speak of the interior
structure of the mouth, but merely of its form, as far as it relates to
the
244
FRAGMENT TWELFTH.
the art, as far as the Painter might, and ought to have studied it, with¬
out exacting of him an anatomical knowledge of^the interior parts.
Unhappily the same observation applies to every Science, to every
Art, from Theology down to the simplest mechanic employment.
The ancient track is servilely pursued ; we do nothing but repeat and
imitate; seldom, or never do we penetrate to the source, thence to
set out afresh, without paying any regard to received prejudices. Thus
we perpetually fall back into the same mistakes, and never get disen¬
tangled from the trammels of our own weaving.
Run over whole volumes of the best portraits, executed by the
greatest Masters, and examine the mouth only—(I have done it, and
therefore I s|)eak with perfect knowledge of the case)—but first study
the general traits that part, in the new-born infant, in the youth, in
the man, in the aged person ; when yon have found these traits, com¬
pare them with the works of Art—and you will be obliged to acknow¬
ledge that most Painters, I had almost said all of them, are deficient
in knowledge with respect to the general theory of the mouth. Seldom
do they hit this general character; or if they do, it is by chance.
Every thing, however, depends upon it. Is detail, are characteristic
traits any thing else than so many shades of the general expression?
The eyes, the eye-brows, the nose, and all the other parts of the fiice,
meet with no better ti-eatment tlian tlie mouth ; in all of them the same
faults occur. As the parts of the face, however, have a relation to
one another ; and as this relation is general, notwithstanding all the
diversity of faces—in like manner also there is a i-elation between the
smallest traits of every sepai'ate part of the face. The relation of these
separate parts is infinitely varied ; and the shades of the pai-ticular
traits of each part are altogether as various, notwithstanding their ge¬
neral resemblance.
Without an exact knowledge of the relation which is ever to be
found between the parts of the face, between the eyes and mouth for
example.
OF PORTRAIT PAINTING.
245
example, it will be by mere chance, and a very great chance indeed, if
the Painter fucceed in marking thefe relations in his compofitions.
Without an exafl knowledge of the integral parts, which conftitute
the principal divifions of the face, it will be merely by chance, the
greateft chance, if a fingle one of thefe laft is well defigned.
Thefe reflexions fhould engage the Artift carefully to ftudy Nature,
if he means to reach excellency in his art. Not that I would advife
him to negleX the Works of great Mailers: they undoubtedly merit
his regard; but no confideration of them, no modefty of opinion re-
fpeXing his own ability, fhould prevent his feeing for himfelf, and keep
him from obferving Nature in great and in little, as if no one had
ftudied her before him, or were to do it after him. Without this at¬
tention, young Artift, your glory will blaze and difappear like a meteor,
and your reputation fpring only from the ignorance of the age in
which you live.
Moft Portrait-Painters, even thofe of the greateft ability, as well
as moft Phyfionomifts, imagine they have performed wonders when
they exprefs the charaXer of the paflions, in the moveable and muf-
cular parts of the face. They pay no attention, they turn you into
ridicule, if you tell them that the folicl parts, independent of the mo¬
tion of the flelhy, are the real balio of drawing and painting. To nO
purpofe do you adduce proofs of it; to no purpofe do you lavifli
good advice upon them; they purfue their own track with an obfti-
nacy that would weary out the patience of Angels.
Till judicious meafures are taken to carry to perfeXionthe art of por¬
trait-painting; till the principles of it are fixed by a Phyfiognomical So¬
ciety, or an Academy of Painters who are really Phyfionomifts, we mull
advance with the pace of a tortoife inthecareer of that Science of which
we treat, whereas it were eafy to proceed in it with the fpeed of a Giant.
One of the principal obftacles oppofed to the progrefs of this Sci¬
ence, is the allonifliing ftate of imperfeXion in which the art of por¬
trait-painting ftill continues.
VoL. II.
3Q
Sometimes
-^46 FRAGMENT TWELFTH.
Sometimes the eye or the hand of the Painter is in fault; fometimes
it lies with the perfon who fits to him ; and fometimes both are to
blame. The former fees not that which is, or is incapable of drawing
what he fees; the latter is perpetually changing his fituation. But fup-
pofing the objefl: perfeftly immoveable; fuppofing even that the atten.
rive eve and dexterous hand of the Painter left us nothino- to wifh. ano-
ther, and an infurmountable difficulty ftill prefents itfelf: it is this, That
every attitude, every momentaneous fituation of the body, is forced
and ceafes to be natural, when it is continued for any time together.
M hat I have juft faid is nothing compared to the important obferva-
lions which ftill remain. This field, as far as I know, has never hi¬
therto been cleared for cultivation. Sulzer himfelf has only thrown
a glance on it as he paffed by, and the form of his Work hardly per¬
mitted him to do more. The largeft Volume would perhaps be in-
fufficient for the full difcufion of a fubjefl; fo copious. It would be
neceffary to take a review of the moft celebrated Portrait-Painters, and
to form a judgement of their Works; it would be neceffary to lay
down the principles of the Art. Finally, the young Artift has need
of precife rules, confidering the infinite variety of faces, and at the
fame time their aftonifhing uniformity; and it would be neceffary to
afcertain thefe rules.
ios icj.itlniiililliil
OF PORTRAIT PAINTING.
247
ADDITION.
DECISIONS, OR A GRADATION OF DECISIONS, ACCORDING TO THE
DIFFERENT MERITS OF A PORTRAIT.
1. This portrait poffefies not the flighteft refemblance. No one
could imagine it was intended to reprefent fuch a perfon. It abfo-
lutely forms a contrail; with his charadler.
2. I could find out no likenefs till the original was named ; it
has little or no refemblance.
3. I fee well enough who is intended ; but any truth it poffeifes is
mafked under a foreign air.
4. It is fuch a perfon, but in caricature. All the features are
harfh, over-charged, deranged.
5. Here all is flattery, embellifhment, heightening. The Painter
has thought only of bringing forward the beauties of the original, and
has fkimmed too lightly over its defedls. This portrait, otherwife
fufficiently like, brings to mind the definition which I.eiling has given
of it. The Portrait, fa)'s he, is the ideal reprejentation of the man.
6 . The detail is fufficiently accurate, but the general form is de-
fedlive ; it wants both proportion and harmony.
7. There is much truth In the whole, but too little attention paid
to accuracy in the detail.
8. This portrait is accurately like, and well executed; but the
touch is timid, and too hard. The outline is not rounded fufficient-
ly; the expreffion wants animation.
g. This one is very well painted, and has the merit of refem¬
blance ; but I remark in the look and in the mouth a wildnefs which
ought not to be there.
10. The attitude is conilrained : it wants eafe and nature. It has
a four fullen look; yet, it retains a very confiderable refemblance.
11. Perfectly
248
F R A G M E N T T W E L F T H.
11. Perfeftly like; but that is not the difpofition of mind which,
we know, belongs to the Original, nor his natural fprightlinefs.
12. It is defeftive in refpefl; of unity. The objeft was not fixed,
and the Painter when at work upon it, purfued not his ideas in a train.
This figure prefents a contrail, and may be faid to imply a contradiftion.
13. This portrait is very like, but it has too much expreffion and
vivacity.
14. The head is too fmall: it would be necelfary, either to reduce
it Hill more, or elle to preferve the natural fize. When one expefts
to find the exaft proportions of Nature, a flight diminution alwavs
fliocks the eye of the Connoiffeur. This, however, is another of
the falfe maxims which have been adopted in painting, and to which
we mufl alcribe the infantine air of an infinite number of fiices.
15. Admirable at a certain diflance ; but viewed near it is harlh,
and produces no longer the fmallefl illufion.
16'. When near it is as exaft as poffible, and polfelfes an accuracy
that will Hand the feverell examination. At a diflance the Wdiole no
longer produces any effeft, or at leafl: the effe£l is prodigioufiy weak¬
ened. (This is the cafe with two beautiful heads by Denner, to be
feen in the gallery at Manheim.)
17. Notwuthftanding all its refemblance it is deflitute of a£lion and
charafter. It is impoffible to indicate the moment for which it exifts.
(There is for every moment of life, a fituation, a difpofition of mind
a flate of aftivity or inaftivity, which is determinate, or which at leaft
may be fo. It is this given moment tvhich almofl always you mifs in
the portrait: the Painter catches it not, or does not fufficiently imprefs
it upon his mind.)
18. The refemblance is perfe6t: the pencil admirable. Every
thing breathes there ; but the manner of the Painter is Hill too vifible.
This portrait is a mere pifture, and this very circumftance deftroys the
illufion. It may be compared to a fine piece of eloquence which fa¬
vours
OF PORTRAIT PAINTING. 249
voui’s too strongly of the Orator. One of the great secrets of art, is to
conceal art.
19 . It is speaking, it is like even to illusion: but this air of face
somewhat approaches that of the Painter himself, who being accus¬
tomed, in all probability, frequently to recopy his own portrait, can
with difficulty lay aside this habit: his pencil reproduces it, without
his perceiving what he is doing.
20 . A most striking likeness, most astonishingly exact! it lives, it
breathes! It is not a portrait; it is Nature! it is the Original itself.
Drawing, form, proportion, situation, attitude, colouring, light and
shade, all is truth, every thing transports. What boldness, yet what
precision ! What accuracy, yet what ease ! In the whole combined,
it is Nature; in the detail, it is still Nature. View it near, or at a
distance; directly in front, or on one side, and still you find nothing
but Nature. It presents the happiest and the most individual disposi¬
tion of mind. At all times, and in every place, this resemblance must
strike. The more one is a Connoisseur, the more he will value it:
but Connoisseur or not, every one will admire it. Nothing here re-
cals the idea of a picture. It is the face itself viewed in a Mirror.
You feel yourself inclined to speak to it, and it seems ready to answer.
It fixes us, more than we fix it; we run to meet it, we embrace it. We
forget ourselves; and, scarcely recovered from our error, we fall into
it again.
Such is the perfection, and the degree of excellence to which the
Artist ought to aspire. If he is so happy as to attain it, liches and
honour will be among the least of the advantages which it will pro¬
cure him. The father, the husband, the friend, grand-children, great-
grand-children will bless his memory. He will have contributed to
the glory of the greatest of Masters. To imitate the work of God,
were it only superficially, and in a single point, is the noblest attempt
and attainment of man.
VoL. II. 3 R
FRAGMENT
FRAGMENT
THIRTEENTH.
PORTRAITS.
It was of importance for me to know in what attitudes, and in what
points of light it is necessary to exhibit a Portrait, in order to facili¬
tate the observations of the Physionomist. The following are the at¬
tempts in this way which I have collected, and which by tlieir di¬
versity may assist in deciding the question. In walking 6ver this long
gallery, the Reader, I flatter myself, will accompany me with pleasure
and attention.
A. WINKELMANN.
Let us begin with Winkelmann, that is, with the image intended to
represent him. Supposing it to have a certain degree of resemblance,
it is howev'er un|)ossible it should be entirely accurate. The form of
the face is wholly destitute of proportion. The upper and middle
parts are lengthened too much, the under is too short. That strongly
marked nose is not in harmony with the delicacy and softness of the
mouth and chin. The relation, which shoidd have appeared, of the
forehead to the nose, has not been preserved ; the most disgusting
disproportions every where present themselves, even in the very
outlines. These eye-brows, these eyes piercing and full of fire,
demanded a forehead drawn with more pi'ecision, contours softer and
more nndulatory. The whole of this part has been shamefully neg¬
lected. But notwithstanding the faults which disfigure this head, we
still discover in it the character of a great genius, the man of taste
who thinks ingeniously, who has cultivated his mind, and enriched
it with useful knowledge.—On the other hand, you are tempted,
without the imputation of being too severe, to ascribe to this physio-
nomy
liiiiiiiiiiiiiiliiiiii
ijilPiiliiiilii
ill
_
WINKKJ.MA'N N .
PORTRAITS.
251
nomy a degree of caprice, of impetuosity, of coldness, and perhaps
of hardness of heart. I have already given it as my opinion that
warmtii and indifference are by no means incompatible in the same
character; if ever this mixture was strikingly apparent, it is in the
face before us.
B. MENGS.
252 FRAGMENT THIRTEENTH.
B.
MENGS.
Mengs, painted by himself, and engraved after a very exact draw-
ing by Seidelmann. This manner is rather that of a Painter than of a
Physionomist.
The slanting of the mouth cannot possibly be correct. This except¬
ed, the combination of the form and features produces a just harmony,
and characterizes a Thinker endowed with taste and wisdom, a lover of
the beautiful, accurate without pedantry, easy without carrying liberty
to excess. The forehead covers great stores of knowledge, col¬
lected and cultivated with much attention: it is a luminous dome,
whei’e every thing gives a distinct and melodious sound. The eye
shines with a brightness uniformly the same: it emits not a sparkling
but a steady fire; the look is rather accurate than penetrating. That
nose open and plump announces exquisite taste, and seems formed to
relish beauties which strike the senses. But the mouth, were it di'awn
even with more precision and truth, would always preserve a slight
tint of austerity and indifference. The whole face taken together
and the eye-brows in particular, bear the impress of greatness and
dignity.
All these expressions, as I think, are given in a very superior manner
in a bust of Mengs, which is at Carlsruh in the possession of Mr.
D’Edelsheim, his friend, [and the friend of the fine arts. The bust
is of a character still more serious than the portrait which we are ex¬
amining: it answers perfectly to the precision and freedom which
distinguish all the works of Mengs, and especially those of the draw¬
ings which I have seen in the collection of Mr. D’Edelsheim.
The attitude which the painter has here chosen, is one of the hap¬
piest for faces of this sort.
C. PORTRAIT C.
P O R R A I T S.
253
C.
PORTRAIT. C.
I fhould be tempted to fay that the upper part of this face is Englifh,
and the under German ; it is drawn in the attitude and the light which
fuit faces of this kind.
It will never be aErmed that this head is ordinary or has the cha-
rafter of mediocrity, were there nothing elfe on which to found a
judgement, but the form of the forehead. The eye, efpecially the left,
(that is the one which is on the right of the book when it lies open,)
that eye promifes a great man. The Original of this portrait perhaps
is one—of this however I am ignorant, having no acquaintance with
him.
The nofe inclining to the fenfual, and the under part of the face
which is flill more fo, not to fay abfolutely grofs, weaken, in fome
meafure, the pofitive faculties of the charadler, but deflroy not the de-
cifion which I have pronounced. It is confirmed, on the other hand,
by the mouth, and in particular by the line which divides it, which
announces refledlion, experience and tafte.
This kind of Phyfionomy fuppofes a man who expreEes himfelf
concifely, and in a decided tone; but wha t he fays will contain as
much fenfe as truth. He will catch at once the right view of the fub-
jeft under difcuEon; and without fpending time in idle preambles
will explain it with precifion, carefully avoiding every fpecies of di-
greEon and pedantry. Precipitancy is in him the effefl: of vivacir\',
perhaps even of obllinacy ; but never of weaknefs. Inclined to indo¬
lence, he furmounts it by his natural energy. When obliged to bend,
he foon recovers his ere6t pofition.
VOL. II.
3
L\ C. A.
254 y R A G M E N T THIRTEEN T H.
D.
C. A. D. R. D. S. Wr.
Here is a face really great, and placed in the moft favourable point
of view. Drawings fuch as this, from their truth and precifion ap¬
proach fomewhat to harfhnefs: but this very circumftance renders
them httci fubjeHs ofphyliognomical obfervation. Examine feparately
the eye and the eye-brow, or that nofe in which light and fhade are fo
liapjrily difpofed—and every one of thefe parts will become fmgly
Hi\ e li^n of a judgement that rifes almofl; to intuition, of a
taH the moft acute, and a tafle the moft refined, capable of deriving
exquifite delight from the charms of poetry. That forehead, that,
luminous eye, and the contour of that nofe indicate a fpirit of order,
the declared enemy of every fpecies of confufion. Thefe upper parts
of the face are not in perfefl; harmony with the under, which is drawn
with lefs exaflnefs and delicacy. Obferve, by the way, that this laft
pait being fofter and more fufceptible of motion, is feldom delineat¬
ed with fufficient accuracy. It is moft expofed likewife to the rava¬
ges of fenfe and paffion: confequently it is more liable to change
and degradation than the other; it ought to be confidered not fo much
the ffem of the fummit of the head, as a branch proceeding from it.
But we leturn to our portrait. I think I perceive fomething of ill
humour on the hp, which, in its relation to the nofe, announces in
othei lefpefts a concentrated force, much firmnefs, and great richnefs
of imagination. Ihis is one of the faces whofe fuperior merit will
be a thoufand times better perceived by the Phyfionomift than by the
man of the world. Without the leafl exception, from the arch of the
crown of the head, to the under part of the neck, I have never met
with a fingle being who has fo much flattered my phyfiognomical fen-
timent, and who is more capable of confounding the fuperficial Ob-
ferver. I am perfeHly fure of the faft, beyond the flighteft appre-
henfion of being miflaken, when I advance, ‘ That a judgement found
‘ and
PORTRAITS. 255
and clear, that poetical fentiment the moft exquifite, that the digni-
‘ fied courage and energy which conllitute the Hero, unite in this
‘ charafter, and are painted in this profile.’
I fubjoin an exa£l fdhouette of the fame perfon, which will con¬
firm the decifion I have pronounced, and reftify the defefts of the
portrait. The forehead, the mouth, and the chin have evidently
gained in this fimple drawing traced after the fhade. We are again
led by it to this conclufion, that art is totally incapable of feizing eve¬
ry tint of Nature, who is ever faithful to herfelf. It affords an op¬
portunity of inculcating once more on all Painters, Defigners, Ar-
tifls, Obfervers, and Phyfionomifls, a truth which cannot be too often
repeated: ‘ An almoft nothing will mar eveiy thing.’
I
256 FRAG M E N T T M I R 'E E E N T H.
E.
C. A. de S. Wr.
The fame perfon painted in front. ‘ It feems,’ faid a man of great
judgement, ‘ as if a ftranger mind had taken this form of face, which
‘ is incapable of expreffing its energies.’ In efleft, this portrait is dif-
tinguifliable, but you difcover in it, a foreign air which injures its
chaiafter. In the eyes of the Phyfionomift, this forehead is not near
lo fignificant as the preceding. That intelligent look announces, in
truth, a man above the ordinary level, but the nofe has loft too much
of its expreftion. Can any one difcern in it the fame penetration, and
tlrat rapid fentiment of the good, the beautiful and the agreeable ?
The under part of the face is weak and childilh ; it totally belies the
charaaer of the Original; it forms a contrail; with the eye, the eye¬
brow and the forehead, however much weakened thefe traits may be
in this portrait, from want of correanefs in the drawing. A new
proof that a portrait well executed, and even like to a certain de¬
gree, may neverthelefs do great injuftice to the original. Thus in a
libel, a charaTer is disfigured by a few traits ftightly altered, but pre-
fentedwith an air of truth. Thus a counterfeit piece of money has
currency for fome time, by means of an artful alloy which im-
pofes on the Million, but cannot deceive the Connoiffeur.
•i*:
f'f:
,* *V^\ 1 -" ij
PORTRAITS.
257
F. W**^*R.
Here is another head in which both the drawino', and tlie lialit and
shade seem expressly intended for the physiognomical 01)server. It is
strongly impressed with the characters of truth. Had I nothing to con-
.sultbutthe forehead, and the beautiful precision of its ou tlines, I woidd
immediately say, that this face, without being ofa superior order, indi¬
cates in the whole, and in every part taken separately, a mind serene,
a man judicious, incapable of artifice, honest and sincere, whom
you must love whether you will or not, on account of his gentleness
and modestj^ This manner of design may be infinitely useful to the
Science of Physionomies. Evo'y thing in it is so clearly perceived
and so accurately expressed. What serenity, what candour in this
look! Dares any one call it stupid or treacherous? You expect not
perhaps any thing superiorly great from this forehead, from these eye¬
brows, or that eye; but they will at least inspire a confidence, which
they are incapable of betraying. The nose decidedly rises above
mediocrity, were there nothing Init the outline to dictate the decision.
What ease in the mouth! What an amiable temper! What docility,
calmness and benignity! I appeal to the feeling of all mankind,
whetber there is not visible even in the chin and in ihe neck, an air
of probity and frankness? The very hair, the arrangement and fall of
the locks concur in strengthening the good opinion which we had
formed of this face: it breaths contentment and probity; and it is
especially the beautiful proportion of the parts, and the exactne.ss ol
their harmonv Avhich produce this impression.
VoL. II.
3T
G. POR-
258 F R A G M E N T T M I R T E £ N T Ff.
G.
PORTRAIT. K.
This head contains very superior faculties. The vie',vs and pio-
jects which engage his pursuit are conceived with much energy.
1 he forehead is firm and obstinate. It supposes a man wlio follows
up his intention with vigour, but who frequently fails, from a defici¬
ency of wisdom, of reflection, of information and docility; after vio¬
lent and frequent exertions, he often finds himself less advanced than
when he began to act.
It is not necessary to be a very profound Connoisseur in order to per¬
ceive, that this face is perfectly in harmony with itself, but very little
so with surrounding objects. A spirit such as this wmuld without
scruple overthrow everything, provided he himself stood. He seeks to
penetrate objects, but considers them in a false point of view. He is
prompt to seize, but every thing escapes him in an instant. He w’ould
be rich, were he less ardent in his desires. With an ambition less
turbulent, he W'ould be much more successful. In a word, with a
mind less eager, he would be capable of more attachment. Were it
possible to fix him, a real service would be rendered to Society. I
have hardly seen a physionomy more original and better character¬
ized. It is at once very easy, and extremely difficult, to lead such a
man. If you discover the smalle.st appearance that you mean to di¬
rect him, you Avill gain nothing; but manage him with address, op¬
pose him seasonably with a certain degree of firmness, make him feel
your superiotity less by w'ords than by effects,—and be assured he will
not resist you.
H. M A L-
P O R T R A I T S’
259
H.
M A L V I E U.
This kind of portraits is, in many respects, the most favourable to
physiognomical observations. I should perhaps, however, give an
exclusive preference to the profile, provided the contours be given
with sufficient clearness and accuracy! but on the other hand, it too
has its difficulties; and particular featui'es which are almost always
neglected in a profile, escape not even the most ordinary Painter in
representing the full face, or three fourths of it. Whatever be in
this, the attitude which results from three fourths of the face, is, in
my opinion, one of the happiest, and sheds the most advantageous
light over the figure. You find in it, in all their precision, the con¬
tours of the forehead, of the cheek, of the chin, of both the eyes, of
the nose and of the mouth. Is it possible, for example, to imagine
for this portrait a position more expressive and more characteristic?
The contour of the forehead discovers less prudence than caprice;
it forms a contrast with these eyes so lively and so full of fire.
The eye-brows admirably well depict the ingenious Artist. That
bony and broad root of the nose is the distinctive mark of masculine
energy. There is, at the same time, a want of harmony between the
mouth and that decided look: these two parts have not been taken at
the same moment. The mouth seems to announce more gentleness,
goodness and weakness than the rest of the face. What might not
have been expected from an Artist, who, so early in life, painted his
own portrait with so much boldness and precision ! How much to be
regretted that premature death which deprived the arts of talents so
promising!
I. QUESNOY.
260 FRAGMENT THIRTEENTH
I.
Q U E S N O Y.
Witli the slightest knowledge of mankind, j ou would say at once,
lliat this is not the portrait of an ordinary man, were the judgement
to he formed only from tlie eye-brows. This is not indeed the look
of genius, hut it is full of sensil)ility and delicacy. In the nose
there is an expression of dignity and taste. It is a pity the mouth
should be concealed and drawn with so little precision. 'Ihat fore¬
head sloping backward, and terminated in a point, supposes talents,
capacity, a disposition to industry, and facility in execution. Wc
have before us only a fourth copy, but the figure of the face is not for
that less original, both in the whole, and in the parts taken separately ;
a clearness and a harmony predominate in it, which on tlie very first
approach, cajitivate our affection, d'urned the other wayy this portrait
I believe, would please still more. Van Dyk, who painted it, pre¬
ferred the effect of the picture to that of the physionomy\ His
characters are less distinguished by the accuracy of detail, than by
leading features, by the manner and style. Accustomed to execute in
the grand taste, he attached himself more to the principal form and
spirit of the face, than to a scrupulous exactness. He imitated rather
as a Poet than as a faithful Copyer.
K. H-
ut.
PORTRAITS.
261
K.
H.-N N.
The expreffive height of the foi'ehead, and its pofition, which Is
by far too perpendicular, injure the real chara£fer of this portrait,
though in other refpefts a tolerable likenefs. But to take it as it is,
we muft always allow to the Original a mind clear and difpofed to
the love of order; a heart generous, frank, incapable of artifice;
much application, calmnefs and refleftion. We muft rank him with
perfons who have ability without genius, who are firm without harfh-
nefs, ftudious without pedantry. A delicate ear, an accurate eye, a
judgement which examines in filence, aftivity without buftle, a no¬
ble modefty, a defire to oblige-thefe are qualities which it is im-
poftible to overlook in this charafter, though weakened through the
fiiultinefs of the drawing. The arch of the forehead and of the
fcull may contain acquired riches, clear and diftin6f ideas; but you
muft not look into it for a creative genius. To form a judgement of
him from the look, this man muft have had the moft happy difpofi-
tions toward becoming a great Artift. In works of invention he per¬
haps would not have excelled ; but his good fenfe, his calmnefs, his
application, his energy and perfeverance would have rendered him
uncommonly dexterous in execution: a hafty or flovenly piece of
work could never be to his tafte. Would you wiflr to fee after this,
in reality, a perfedl model of probity and modefty, the moft fervicea-
ble, grateful and alfeftionate of mankind, I muft refer you to the Ori¬
ginal of this portrait,—Mr. Ifrael Hartmann, now fettled at Lud-
wigfbourg.
3U
VoL. II.
L. S I R
262 F R A G M E N T T H I R T E E N T H.
L.
SIR T H O M A S MORE
This portrait is engraved after the original painting of Holbein in
the polTciTion of Mr. de Micheln at Bale, and which deferves to be
ranked among the moft beautiful mader-pieces of the art. In vain
will any one attempt to feize the fpirit which feems to emanate from
this wonderful produHion; it is not in the power of the defigner,
however great his ability, to convey by the graver the exprelTion of
an original which conveys the iinpreflTion of having proceeded from
the hand of a fuperior being.-Yet what truth is vifible in this co¬
py ! Wdrat an air of authenticity ! It is not polTible that this fhould be
the produHion merely of imagination. Elere is one wliom you may
confidently call a man, one who merits that appellation. Here is a
figure prefented in the bell pofition poffible, and in the mod advan¬
tageous light; though it is to be regretted that the forehead is covered
by the hat. Who would prefume to refid that lion-like countenance,
all force, all energy? How well affured is that man of whatever he
knows, and of what he fays! Who will attempt to impofe upon
him ? Who dare pretend to lead, to move, to model him at his
pleafure ? What unity ! What firmnefs and profundity ! What man¬
ly virtue! What unflraken prudence! A fpirit weak, timid, irrefo-
lute or trivial could not fupport the cold difdain of his filence. Flow
that reflefting look penetrates you ! Mfith what eafe he fees through
the jargon of dattery, or that of unmeaning politenefs! How direct¬
ly he advances to his objefl;! He cruflres us into dud, and raifes
us up again. Call all this declamation, if you will; the word is with
me of no importance. You feel however that I am in the right,
whether you ha\"e honedy enough to acknowledge it, or whether you
affeft not to fee what forces itfelf upon ymur notice. This face, par¬
ticularly this large chin, and the thick neck, fuppofe a nape uncom¬
monly brawny ; and notwithdanding this prodigious force—I had al-
inod
PORTRAITS.
263
moft called it the force of a bull—what delicacy of judgement, what
fprightlinefs, what attic fait in the mouth, or in the line only whieh
feparates it! But I flop here, as perhaps I fliall take occafion oftener
than once to refer to this head.
M.
COUNT
26'4 FRAGMENT T H I R T E E N T H.
M.
COUNT STADION*.
The ftatefman, the accomplifhed man of bufinefs of tlie higheft im¬
portance, who difpatches it with equal facility, expedition and exa£l-
nefs, who effefls whatever he will—this is what the eye of a Connoif-
feur will inllantly difcover in this image.
Thefe eyes arreft and penetrate you : they remove the refpeclful
veil with which you had covered yourfelf in the antechamber. The
heart expands to that allured look: the moment you are in his pre¬
fence, you feel encouraged by the gracious manner in which he
receives you. Every eye whofe upper eye-lid is thus folded upward,
whofe contours are fo precife, fo fharp; whofe lengthened angle ter¬
minates thus in a point-every eye, I fay, formed thus, decidedly
announces an intelligent a6li\'ity.
The fprightlinefs which belongs to the charafter of the Original,
has not been preferved in this copy ; but the Phyfionomilt prefently
infers it from the combination of the features. He perceives the
fource of it in the eye, in the nofe, and efpecially in the middle point
of the lip, and in the folds of the cheek. He will farther difcover in
the angle of the right eye and the parts adjoining, a gaiety where wit
and gentlenefs are united.
The contour of the forehead does not accord with the energy and
fire which are diffufed over the whole form, and rvdrich principally
Ihine with fuch brilliancy in that animated eye.
Moll Painters, even he who produced this portrait, the great Tich-
bein himfelf, feem to neglect the exterior contours of the forehead,
and fatisfy themfelves witii conveying the exprellion of it only. How
little aware are they of the fhock it gives to a perfon of tafle to ob-
ferve a palpable difagreement between the exprelTion and the contours!
Why do they not imitate the delightful harmony obferved by Na¬
ture in this refpeft ! R
■* Minifter of State to the E!e£lor of Treves.
PORTRIATS.
265
It is impossible for me to overlook in the parallelism of this face,
in the regularity and justness of its relations, a character of inte¬
grity and truth, great capacity, the love of order, much firmness,
courage and dignity. This character announces itself thus from the
first instant; it takes immediate possession both of our heart and un¬
derstanding.
You may remark in the mouth a slight air of discontent, which
must be imputed to the incorrectness of the drawing. The left cor¬
ner of the upper lip is faulty; it ought to have indicated, by a slight
trait, its connection with the under lip.
The blunted contour, extending from the right cheek to below the
chin, robs this physionomy of part of the delicacy which belongs to it.
Generous goodness, elevated sentiments, natural greatness of soul,
are the c[ualities which this portrait expresses in the truth and harmo¬
ny of the whole; and it is easier to feel, than to convey, these different
expressions. As a work of art, the portrait seems to me worthy of
admiration.
* it: * * * * *
1 must be permitted to subjoin a few particulars tending to unfold
the character of this distinguished personage, and which undoubted¬
ly deserve a place here. Whatever can promote the knowledge of
man, and diffuse the spirit of love, enters into my plan, and serves to
forward the design of this Work.
Count Stadion on taking possession of his estates, found himself in¬
volved in debt. A Steward who was acquainted with the state of his
affairs, proposed to him the means of clearing himself, by raising the
rents of his farms. The Count approved of this plan ; it procui-ed him
money to satisfy his Creditors. After some time he visited his estate,
and to his great astonishment found several of the farms of which he
VoL. II 3 X liad
266 FRAGMENT THIRTEENTH.
had lately granted leases, advertised to be let. On enquiry he found
that the mischief arose from the excessive increase of rent. Nothing-
more was wanting to induce him to continue the old farmers, and he
ordered the full value of the advanced rent which they had paid, to
he restored. This restitution amounted to .^800.
It is impossilde to imagine how highly he was respected and belov¬
ed in his own country. To enjoy his esteem was to make sure of
the public favour.
It had been proposed to convert certain districts of arable land in
Suabia into forest. Had this project been executed, Mr. de Stadion
would have been a considerable gainer by it, but it met with his hearty
opposition. ‘ I am much less interested,’ said he, ‘ in a hundred deer,
‘ than in a single sheaf of corn lost to my poor peasantry. I would
‘ rather have the ancient forests laid open, and cleared for the plough.’
During the winter he found employment for the day-labourers, and
the poorer of the peasants : and in times of scarcity increased their
wages. When the revenue officers came to demand the taxes from
the common people, he advanced the money for them, to prevent
the necessity of their running in debt to government. He was often
seen walking through the villages with a peasant’s child in each hand.
The needy and the orphan found in him a father.
^ * H; * ih it: H;
An anonymous correspondent who was intimately acquainted with
Count iStadion, has left us the following traits of his character and
history:
‘ Justice, in him, had its principle in a noble disinterestedness, and
was supported by a firm and manly spirit; he dispensed it with se¬
verity, nay even with rigour, when the prevention of evil was in
‘ question. Humane and beneficient to all, he knew however to
‘ difstinguish
PORTRAITS.
267
‘ distinguish those whose way of thinking was congenial to his own ;
' he had the talent of discovering them ])y a species of divination
‘ which might be called instinctive, and which seldom deceived him.
‘ A sworn enemy to hyprocrisy, bigotry and intolerance, he laid re-
‘ straint on no man’s conscience, and bestowed his chief regard on
‘ the qualities of the heart; He took pains to direct the conduct of
‘ such as courted his protection or acquaintance. In the exercise of
‘ his public employments, he approved himself an able Politician and
‘ a faithful servant. Never could favour or any view of interest detach
‘ him from a plan which he thought conducive to the public good.
‘ Endowed with uncommon sagacity, he considered his object in every
‘ form which it could assume, and calculated every consequence which
‘ might result from it. His heart was naturally possessed of exquisite
‘ sensibility, and he regarded no sacrifice as too great for him to make,
‘ when the happiness of his friends was at stake. He loved and pro-
‘ tected the Sciences. Favourable to agriculture from a conviction of
‘ its importance, he encouraged it besides from taste : gardening was
‘ one of his amusements. Many young persons who distinguished
‘ themselves by superior talents were educated by him, and sent to
‘ visit foreign countries with liberal appointments : He spared neither
‘ trouble nor expence, to secure to his country the acquisition of a
‘ man of merit. His library, his fine collection of pictures, his build-
‘ ings, are so many monuments of his erudition, taste and magnifi-
‘ cence.
‘ After fifty years of faithful service,CountS tadion retired from busi-
‘ ness and the Court, to enjoy, as he said, a little interval between life
‘ and death. He chose an asylum in one of his own estates, in which
' he passed eight happy years more in the bosom of his family, in the
‘ society of a few valuable friends, and amidst subjects whom he was
‘ continually loading with benefits. He terminated his career at
‘ the age of seventy eight: and a life so Iionourable was crowned with
‘ an
268 FRAGMENT THIRTEENTH.
‘ an end worthy of it ; He looked forward to his last moment with
‘ the resignation of a Christian, and the firmness of a Philosopher.
‘ He died lamented hy his subjects, regretted by his friends, and his
‘ memory is respected even by his enemies.’
N. ’Phe
PORTRAITS.
N.
269
The eyes of this portrait are so wretchedly drawn that they must
pass for almost nothing. We have little more than the sketch of
them j but imagination can easily supply the deficiency, from a slight
examination of the form and air of the face. If we consider them in
relation to their orbit, these eyes must be little and sunk, but they will
not however on that account appear less luminous. A head like this
reflects calmly; it turns its object every way, and meditates upon it
with deliberation. It promises a man naturally good, gentle, mo-
destand sincere, who unites much ingenuity to the powers of speech.
The mouth especially seems to justify this opinion, which is still far¬
ther confirmed by the form of the face, and even by the hair. The
design of the forehead is too vague and destitute of character. Se¬
renity of mind is the only inference to be drawn from it with any de¬
gree of certainty.
VoL. II.
3 Y
O. How
270 FRAGMENT THIRTEENTH,
O.
How niucli more expressive is the silhouette than tlie shaded face !
Both of them, it is allowed, announce a man estimable for his good¬
ness, probity and eagerness to oblige; but the Physionomistwill in pre¬
ference attach himself to the silhouette, because it presents him with
greater dignity in the under part of the profile, and more poetical sen¬
timent in the nose. The form of the face is besides infinitely more
vulgar in the poi'trait. It wants the unity of the moment, or, to ex¬
press myself more correctly. You do not find in it a single moment
that is perfectly simultaneous. The eyes say nothing, ask nothing,
observe nothing : they are totally destitute of idea. The attitude and
the light appear to me likewise very badly chosen ; they almost en¬
tirely destroy the effect of the upper eye-lid, and cannot possibly be
in harmony with a nose so prominent as this is.
PORTRAITS.
271
P.
Here is a most oi’iginal head, admirably well hit off, and placed in
a good light. You perceive in it the form and the traits of the face in
their utmost precision: and though the nostrils and eyes be not drawn
with perfect accuracy, they destroy not however the principal cha¬
racter. We have before us a man of singular integrity, candor and
sense, equally active and inventive. Sure of his mark, he will have
the courage to deviate from the common track: but never will he
transgress the bounds of modesty, which is natural to him, nor make
any one feel his superiority. I expect not from snch a forehead the
talent of poesy ; but will confidently affirm that we have here an at¬
tentive mind, that this man has a turn for research, and will probably
apply his industry to the mechanical arts.
0
272 FRAGMENT THIRTEENTH.
Q.
There is much spirit and ingenuity in this physionomy, but the
drawing: is weak and timid. The contour which extends from the
eye down to the chin, and that which bounds the hind-head, promised
a forehead more serious. The upper part of the forehead itself re¬
quired progressions delicate and more expressive. The Physionomist
will pronounce at first sight that this profile ought to have been treated
with greater boldness : that the eye and mouth are by far too timid
and childish. Strengthen, for example, by a single stroke of the
graver, the upper eye-lid, and you will restore to that face, part of
the ingenuity that belongs to it.
PORTRAITS. 273
R.
I veiy much doubt whether this profile be a ftrong likenefs; but
however far it may be from the Original, I maintain that it cannot
have been defigned after a mean or ordinary man. It is extremely
difficult to hit the outline of this fort of heads with perfeft accuracy,
but an Artifl of the meaneft ability, will hardly mifs it altogether.
Notwithftanding the feeblenefs of this copy, the principal form is
confpicuoufly apparent. It is the profile of a Thinking Man, who
loves and purfues the beautiful, who attaches himfelf to it from tafle.
I do not believe he poireffes very exquifite fenfibility ; and, fuch as he
is in the portrait before us, I fhould be tempted to fay that he feels ac¬
cording to reafon; that he is the oppofite of thofe foft and delicate
fouls, of thofe romantic and eledlrical fpirits who refer every thing to
fentiment. I perceive, befides, in this head, a produftive force which
a£ls not b)' fudden flarts, but which has occafion to labour its fubjedt,
to reflefl; upon it, to treat it methodically. There is a vacancy in the
mouth abfolutely incompatible with the eye, the nofe, the front and
back part of the head.
274 FRAGMENT THIRTEENTH.
S.
I rank this man too among the Thinkers who reduce every thing to
analyfis; but his profile by no means reaches the ingenuity and uni¬
ty of the preceding, which, by its ftruHure and proportions indicates
more fimplicity and clcarnefs of idea, more genius and ability than
are difcoverable in the one before us. To be fatished of this, you
liavc but to take feparately each particular part of the two profiles,
the forehead, the nofe, the mouth, the chin, and to compare them
with each other. The eye alone might admit of fome exceptions:
that of the lafl; face, without being more intelligent, has more \ iva-
city than the other, and fuppofes a man more adlivc, more enterprizing,
more perfei ering. The characler taken as a whole has a tint of harflr-
nefs, violence and obllinacy ; but thefe defedls are fomev/hat correct¬
ed by the air of the face, which promifes a humour more pliant, more
complaifant and obliging than the former. The favourable fide of
this charadler difplays itfelf in the eye, the cheek, and the mouth ; the
reft is to be found in the other parts of the face, and in its form.
PORTRAITS.
275
T,
This is the head of a man of confiderable genius, but whofe mind
purely paffive, confines itfelf to obfervation. We mull not rank him
among the Thinkers properly fo called ; he is excluded from this dif-
tinflion by the forehead which is too fmooth and too fimple ; but rve
cannot help admitting him to pafs for a very intelligent Obferver, of
fingular ingenuit)' and tafte. In fuch an attitude, and fuch a pofition,
heads of this clafs ought ev^er to be drawn. This face however has
nothing animated : it wants energy, fire, aclix ity and induftry ; a mind
hke tiris was made for receiving only and not for producing; that mouth
will not fay a great deal, but all it does fay will be to the purpofe.
276 FRAGMENT THIRTEENTH.
This too is one of the faces whofe likenefs it is almoft impoffible
exaflly to hit, or entirely to mifs. It will always preferve, even in
the moft inaccurate copy, a trait of Greatnefs very eafily difcernible.
Mdioever looks on the annexed portrait, fuppofing him to know no¬
thing about the Original whom it means to reprefent, will neverthelefs
fay without hefitation, ‘ This is a fuperior Genius,’ and it were the
groffeft affedlation to deny it.
In truth, what depth of underftanding, what confummate wifdom
may not be expected from fuch a phyfionomy ? I would venture to
hold it up as the complete model of a profound Politician, of an en¬
lightened Statefman. Were I a Prince, this is the man whom I would
choofe for my prime Minifler. Such is the forehead, the nofe, the
eye, the look, which I would wifli to find in him. This man is not a
Poet, nor a Philofopher, nor a Mathematician ; but let the fe\'eral
merits of thefe different charafters become neceffary to him, and he
w'ill make them all his own. Examine one by one the forehead, the
nofe, (though indifferently drawn*) the eyes, the eye-brows, the mouth,
the ear—and you will find them equally exprelTu’e. If the parts taken
feparately be thus fignificant, how powerful an effedl muft the com¬
bination produce!
* The Englifh Artifl lias endeavoured to preferve the Phyfiognomical Charafler of this portrait, but tiiouglit
binifelf at liberty to corre£l the drawing. This parcnthefis, alone, is inapplicable to his Engraving.
X.
The relievo of this portrait is admirable, it is fo well defigned and
the light and fhade fo happily difpofed, that in thefe refpefls, it may
be confidered as a mafterpiece. d'he form and features have all the
precifion, all the harmony which can be expedled from the graver, in
a fpace fo contradled. As to the charadler of the Original, I would fay,
that he is of a phlegmatic and fanguine temperament; that he is a friend
to order: that he never fallies beyond his Iphere, but adls always with
calmnefs, and as a man of integrity. I would alTign him only mode¬
rate talents; no genius, no productive force. I form this judgement
from the exterior contour which extends from the point of the toupee
to the chin: the ear too contributes fomewhat to this decifion.
FRAGMENT THIRTEENTH.
278
Y.
THE DUKE D’URBINO.
You difcover ftill the fpirit of Raphael in the tenth copy of this
head; but there is wanting, as in moft of the heads of this great
Painter, the exadl truth—the details of Nature—and, I have the
courage to add, correHnefs of defign. However bold this criticifm
may appear, it is neverthelefs well founded; the heads, and efpecially
the portraits of Raphael, are fcarcely ever correft in the detail. The
nofe is always too near the mouth, and too far from the eye. Almoft
always, and chiefly when he paints foft and voluptuous faces, he blends
in them lefs or more of his own image; certain forms, and a tint of
refemblance which recal it. This is clearly the cafe with the portrait
under examination. It has fomething of the air of Raphael; and for
this reafon you difcover in it his calm and gentle character, his pro-
penfity to love and pleafure. The eye, the eye-brow, the nofe, the
mouth, the oval form of the face, every thing is animated with the
fame fpirit, every thing expreffes the foft recolledlions of a Soul em¬
ploying and feeding itfelf with a beloved objedl. There is not a
Tingle particular, even to the very hair, but what fuggefls the idea of
a tender and amorous dilpofition.
It is to be regretted that the noftril and the angle of the lips are
drawn lb carelefsly. Thus it is that negligences of this fort disfigure a
hundred thoufand portraits, and yet efcape the fuperficial Obferver,
though they inconceivably injure the expreffion.
PORTRAITS.
279
Z.
^**** after RAPHAEL.
What has been faid refpefting one head by Raphael, is applicable
to almoft all of them. They all have the fame inimitable perfeftions
and the fame faults. Ye friends of truth! wherefore difguife what
forces itfelf on obfervation, and what no one can deny? In order to
be a great man, is it neceffary to be free from every fault? Is it not
fufficient to the glory of Raphael to have redeemed a few flight ble-
milhes by beauties and perfedlions without number? Let us do juftice
to his talents, let us acknowledge his merit—but do not let us conceal
his defefls; but point them out with a modeft franknefs to the enthu-
fiaftic Admirer and the fervile Imitator.
Here is another head which ftrikes by its charafter of greatnefs, by
a happy mixture of calmnefs and refolution, of intrepidity and gentle-
nefs. It is much more thinking and decided than the preceding, but
at the fame time lefs poetical, and lefs formed for love. The noftril
excepted, that nofe is almoft fublime; and yet it could not be fo by
the fide of fuch an eye. The expreflTion of the eyes is never either
true or fublime, when in fuch an attitude the upper eye-lid entirely
difappears. We muft impute the obliquity of the mouth to the
Copier, and fhall only add that a colledlion of fuch lhaven heads, pre-
fented in this attitude and in this light, would be infinitely interefting
to the Phyfiognomical Obferver.
2So FRAGMENT THIRTEENTH.
A. A.
HENRY FUSELI.
Here is a chara£ler given in a very fuperior ftyle, a face drawn with
all poffible precifion. In this manner you muff defign if you would
draw as a Phyfionomifl. All the features are of inconteftable truth;
they are fo many diftinfh perceptions, in which every thing is pofitive,
in which nothing is altered or affedled. The Painter has forgotten
himfelf, and given undivided attention to Nature alone, whofe faith¬
ful Interpreter he ought to be. It was hardly poffible, without doubt,
to catch all the fpirit of a face fo original; but the copy is a fufficient
proof that the defigner was filled with his objeft, that he fludied it,
and employed every effort to fubjecR it to his pencil. He wifiaed to
imitate Nature, as clofely as fhe can be imitated by Art: he wifhed to
preferve the vivacity of the eyes, the exprefhve curve of the upper eye¬
lid, that of the mouth, that of this energetic nofe, which alone an¬
nounces at once the extraordinary man. The Artift has executed his
tafk; but his very exa£l;nefs, and his fcrupulous fidelity have produced
perhaps fome touches, which appear to us rather too ftrong.
It remains that we charafterize this phyfionomy: and much we have
to fay of it. The curve which defcribes the profile in whole is ob-
vioully one of the moft remarkable; it indicates an energetic charac¬
ter, which fpurns at the idea of trammels. The forehead by its con¬
tours and pofition is more fuited to the Poet than the Thinker; I per¬
ceive in it more force than gentlenefs, the fire of imagination, rather
than the coolnefs of reafon. The nofe feems to be the feat of an in¬
trepid genius. The mouth promifes a fpirit of application and preci¬
fion—and yet it colls the Original the greateft effort to give the finifh-
ing touch to the fmalleft piece. His extreme vivacity gets the better
of that portion of attention and exaflnefs with which Nature endowed
him, and which is ftill dillinguilhable in the detail of all his
works. You will even fometimes find in them a degree of finifhing
almoll
■-j: ^
PORTRAITS.
281
almost over curious, and which for this reason forms a singular con¬
trast with the boldness of the whole.
Any one may see, without my telling it, that this character is not
destitute of ambition, and that a sense of his own merit escapes him
not. It may also be suspected that he is subject to impetuous emo¬
tions; hut will any one say that he loves with tenderness, with warmth,
to excess? There is nothing however more true; though on the other
hand, his sensibility has occasion continually to be kept awake by the
presence of the beloved object: absent, he forgets it, and troubles
himself no more. The person to whom he is fondly attached, while
near him, may lead him like a child; but, quit him, and the most per¬
fect indifference will follow. Pie must be I’oused, be struck, in order
to be cai’i ied along. Though capable of the greatest actions, to him
the slightest complaisance is an effort. His imagination is ever aiming
at the sublime, and delighting itself with prodigies. The Sanctuary
of the Graces is not shut against him, but he has no great skill in sacri¬
ficing to them, and gives himself very little concern about it. Though
formed to feel it, he seldom reaches the sublime. Nature intended
him for a great Poet, a great Painter, a great Orator; but, to borrow
his own words, ‘ inexorable fate does not alway proportion the will
‘to onr powers; it sometimes assigns a copious proportion of will to
‘ordinary minds, whose faculties are very contracted; and frequent-
‘ ly associates with the greatest foculties a will feeble and impotent.
VoL. II.
4B
B. B.
282 FRAGMENT THIRTEENTH.
B. B.
ADDITIONS.
Phj'siognomy, or what amoiiut!; to the same thing, the knowledge
of man, would gain infinitely, if a person, of whom a good likeness is
given, could be judged of besides from his works. We shall endea¬
vour to collect some essays of this sort.
Having examined in the preceding article the image of a man re¬
markable for his character and his talents, We shall now present to
the Reader a few of his productions. Considered as such, and as works
of art, they will furnish us, in both respects, with reflections interest¬
ing and useful to the end we have in view.
A. Brutus after Fuseli.
Here is, first, a Brutus, at the instant when the Ghost appears to him.
The copy has been cruelly disfigured, especially in what regards the
mouth and root of the nose; but whatever may be its faults, a vigo¬
rous mind alone could have seized a character of such force. The
terror painted on this face announces a soul filled with agitation and un¬
easiness, yet still [lossessing itself suiflciently to think and to reflect.
Uncertainty, boldness, contempt and fear are legible in the eye, and the
mouth. The contours of the eyes, the eye-brows, and the nose want
correctness and dignity, but a character of greatness, which does ho¬
nour to the feeling and the ettbrts of tlie Designer, is strikingly appa¬
rent in the whole taken together. In the ehin, particularly, there is
an expression of obstinacy, courage and haughtiness.
4==y
If
•-r
i
sa.
n / r-f^S
.M .
J’.
mil
'ii
T/M/,.
SisIlT
Thij rrim u riuifiirnl ^/ier ,i/i tntirrh urn Jlniwiiio hy M'l'itsrli hr hrinn iiiixnlliiio Out! Mr prirrJiiio (liilliiir .rlifiihl poj^ iV hu Idtn vl'Mi
fiiif M'l.,»„l.r.r rittuirk' rnuitrr.l il rtf,t.r.-„r, !.• the t.noU-rh IhUt.-r y/iv a the .'iiiiilr .>r'rJu fniuh Hiuintt in,} .
FuiiUJvA >v Ju ter I .tuJ\ i/y, ht J Jhtrrue /*//•■//«')».«
PORTRAITS,
283
B. Mary the sister of Martha.
A mixture of gentleness and harshness, of enthusiasm and sensuality.
The forehead and the nose are too coarse, and never could he in ac¬
cord with the mild and docile character of a disciple of Jesus. The
eye, on the contrary, expresses perfectly well a religious attention, great
mental vigour ; if it did not terminate too much in a point, it might
be held up as the model of an energetic and spiritual eye. The mouth
is much too coarse; the corner of the hps, m particular, wants truth
aud correctness; hut this fault must he imputed to the copyer, and
we must still admit that this mouth preserves an air of devotion,
langour and tenderness.
TPe eye-hrow, in my opinion, is the best managed part of the face.
The attitude of the hand is very fortunate, and happily serves to
mark the calmness of attention ; but it is badly designed: too weak
and too delicate for the hand of a man, it has neither the grace nor
pliancy of the beautiful hand of a woman.
All these traits in general are too strong for a female figure. The
ear alone deserves to be excepted : I see in it both delicacy and preci¬
sion ; but it is too far from the nose, besides somewhat too large, and
badly placed'*'.
* The Painter has been consulted, with respect to this subject, and has endeavoured to regain what was lost
or disfi<'ured by the Engraver of the head in the French edition. It is left to the Reader to determine, whether
the criticism of the Author, on spurious deformities, were worth retaining at the expense of propriety an
beauty ?
284
FRAGMENT
THIRTEENTH.
C. SAINT JOHN.
Saint-John-Baptist in the ecstasy of contemplation: ‘This is the
‘ Lamb of God.’
It would be superfluous to criticise the eye, and especially the upper
eye-lid. This trait is evidently extravagant, affected, and destitute of
truth ; it conveys however the idea of the Desioner*.
The forehead and the bandage which covers it, mean nothing.
The nose announces undoul)tedly great delicacy of judgment: but
nothing in it suggests the sublime character of a Prophet, or the trans¬
ports of a love purelv' divine.
The mouth is drawn without any precision: the upper lid is some¬
thing more than whimsical—and yet both the one and the otlier ex¬
press the desire of a Soul whose affections are set on things abwve, and
M-hich has renounced all the vanities of this world.
The cliiu, the part below it, and the tieck, are equally exoressive
of this pious elevation.
Is it not dee])ly to be regretted that a man full of genius and energy,
will not take the trouble to study attentively every part of the face af¬
ter Nature ? Is it to be expected that any one should imitate her well,
without knowing her? Without the truth of Nature genius sinks to
little oi' nothing, and energy becomes weakness whenever it ceases to
be natural.
How many jmung Artists might have risen to the height of the
greatest ^Masters, had they set out with studying correctness; had they
listened to the voice of truth, rather than followed the wanderings of
a wild imagination !
* The Designer of this head was in Company with Mr. Davater when he sketched it: whilst he was talking,
be amused himself witli drawing some unpremeditated Lines on tlie paper before him.—Mr. IjAvateu liked
them, and tlie Artist gave to his Design a certain finish, ilaving totally forliil'li-(olh, I'uMo/o on' f/u <\/io/> ///////.■ /•.'-
Ollilll'o/ l)lll<‘lll'
hiMi.-lu.'
,■ 111(01
. 1 , 1 . 1,00
PORTRAITS
H.
289
The Witcli of Endor, Her face presents a mixture of greatness
and littleness, of originality and caricature. Pier attitude expresses
energy and astonishment.
The figure which represents the Spirit of Samuel is in every respect
admirable. ^
That of Saul ec[nally merits the highest praise, and is perfectly
suitable to the Piero whom we see fainting in the arms of a Soldier
inured to dreadful Scenes.
The lower vignette may serve as a contrast; it presents the image of
calmness and wisdom.
4 D
VoL. II
990
F Pi A G >1 E N 1' 1' H I K T E E N T H.
Four laces the idea ol' which lias heeii lakeii trom Dantes Hell
d'hev express the most horrihle suirerings ; but even in this state they
announce characters naturally energeticvthough destitute ol truegreat¬
ness. Forehead 3. for example, could not possibly belong to a distin¬
guished man. i i n
Those are not ordinary sinners; they are men rugged and relentless,
ivho never knew what pity was; and therefore judgement without
mercy has liecn pronounced against them.
PORTRAITS.
291
K. Salome after Fuseli.
Though the print annexed be one of our Artift’s earlieft produc¬
tions, you perceive in it already his tafte and his manner.
The face of the daughter of Herodias is neither fufficiently young
or feminine. The eyes and the nofe, without being beautiful, are not
however deflitute of dignity. The too narrow forehead, which an¬
nounces obftinate infenfibility, can produce a good effect neither for
the phjfionomy, nor as a piaure; befides, it forms a fingular con-
traft with the length and delicacy of the hand. The look expreffes a
ftupid aftonifhment, which is not even that of fear.—The head of
Saint-John is at leaft forty years too old. I difcern in it, in truth, a
noble ene’gy, but not by far the fublimity “ of the greateft of thofe
“ who are born of woman.” Such nofes are too feeble, too timid
for energetic charaffers. An arch which rifes thus in the middle of
the nofe always fuppofes a weaknefs of temperament and a want of
courage.
There is a great deal of expreffion and truth in the phyfionomy of
the Attendant, though the under part of the nofe be badly drawn.
Terror and anguilh are painted on the manly face of that other per-
fonage, whom I take to be one of the friends of Saint-John.
292 FRAGMENT THIRTEENTH.
L.
Here is another figure full of fire, of dignity and energy, but de-
feftive in refpect of truth and corredtnefs. I imagine it reprefents a
Patriarch or a Prophet beftowing his benediction. Nothing can be
more folemn than this face. If that mouth had anathemas to pro¬
nounce it would strike terror into the mod obdurate hearts. Who
could refid t’ue adjuration of fuch aperfon?
.1/ ihijrt iuttt/ tt TffrlU^jy
PORTRAITS.
293
M.
There is no subject, even to a head of Christ, in Avhich our Artist*
does not blend an air of savageness—and the model ot patience bears
here the character of vehemence. The oblong scpiare of this face adds
nothing assuredly to the expression of its grief. On the contrary the
less harsh the forms are, the better they express the afflictions of the
soul, the more susceptible they are of dignity and energy. Great in¬
ternal force may very well subsist without vebemence. ihe nose
alone, and the gentleness depicted in it certainly required a form of
face totally different. This before us presents only the grimace ot a
forcedcharacter,onlyanassemblageoftraitsabsolutelyheterogeneous.
VoL. II.
4E
. Tbi h-.t M-‘''f yr ft
He is unwilling it should pass with the British pubUe as Ms Idea of Christ. H. .
294 FRAGMENT THIRTEENTH.
N.
The richness of this composition takes nothing away from its sim¬
plicity. It is a Knight who has just assassinated his mistress. Fettered
by remorse of conscience, accused by the presence of his victim, he
deplores his madness, but repents it not; he detests it, and yet Itill
applauds himself for it. A character of such force was capable of
committing a premeditated crime in cold blood. Before giving him¬
self up to It, he beheld it not in all its blackness: and even after the,
fatal hloA\, he does not yet feel it in all its enormity.
fmtk' ‘
PORTRAITS.
295
We cannot finish better than with this beautiful composition of
Raphael, drawn from memory. This copy* pronounces at once the
eloo-ium of our Artist’s genius and sensibdity; and after the many
pro'ofs we have produced of his ardent imagination, one was wanting
to establish his genlle and loving character. Is it not self evident that
this piece is singailarly delicate? Every thing in iI breathes tranquility,
softness, tenderness. You love to hang over it; You leel
clination to assist the persons employed in rendering to Jesus Christ
services so afiecting.
* Whoever chooses to compare this copj with the original will find that all of it does not belong to Raphael.
H. H.
FRAGMENT FOURTEENTH.
OF THE
HOMOGENEOUSNESS
OF ALL THE
INDIVIDUALS
O F
THE HUMAN SPECIES.
IN all her organisations, Nature operates from the interior to the
exterior; every circumference in her bends towards a common centre.
The same vital force which makes the heart beat, puts in motion also
the extremity of the fingers. One and the same force has arched the
scull and the nail of the toe. Art only assorts, and in that differs from
Nature. This last forms a whole of one piece, and at a single cast. The
back unites itself to the head; the shoulder produces the arm; from the
arm springs the hand; and the hand in its turn sends out the fingers.
Universally the I’oot rises into the stem, the stem pushes out the branch¬
es, the branches produce the flowers and fruit. One part is derived
from another as from its root. They are all of the same nature, all
homogeneous. Notwithstanding all these relations, the fruit of hraneh
a. cannot be that of branch h. much less the fruit of another tree. It
is the determinate effect of a given foree; and it is thus Nature uniform¬
ly acts. For this same reason, the finger of one man never could be
exactly adjusted to the hand of another man. Each part of an organic
whole is of a piece with the eombined whole, and bears the character
of it. The blood which flows in the extremity of tlie fingers iias the
VoL. H. 4 F character
298
FRAGMENT FOURTEENTH.
character of the blood which circulates in the veins of the heart.
The same thing holds with respect to the nerves and the hones; all is
animated with one and the same spirit. And as every part of the body
is found to have a relation to the body to which it belongs ; as the
measure of a single member, of a single little joint of the finger, may
serve as a rule for finding and determining the proportions of the
whole, the length and breadth of the body in all its extent—in like
manner also the form of each part separately taken, serves to indicate
the form of the combined whole. All becomes oval, if the head he
oval; if it he round, all is rounded ; all is square, if it he square.
Thei'e is only one common form, one common spirit, one common
root. Hence it is that eveiy organic body composes a whole, from
which nothing can he taken away, and to which nothing can he added,
without destroying the harmony, without producing disorder or de¬
formity. Every thing pertaining to man is derived from one and the
same source. Every thing is homogeneous in him : form, stature,
colour; the hair, skin, veins, nerves, bones; the voice, gait, manners,
style, passions, love and hatred. He is always one, always the same.
He has his sphere of activity in which his faculties and sensations
move. He has the power of acting freely in this sphere, hut he has not
the power of transcending its limits. I admit, however, that every
face changes, however imperceptibly it may he, from one moment
to another, even in its solid parts; hut these changes are still analo¬
gous to the face itself, analogous to the measure of mntahilitv, and
to the proper characters which are assigned to it. It can change only
after its own manner, and every affected, borrowed, imitated or he¬
terogeneous movement, still preserves its individuality, which deter¬
mined by the nature of the combined uhole, belongs onl\- to that
])articular being, and would no longer he the same in one different.
I almost blush for the age I live in, that I am under the necessity
ol insisting on truths so jralpahle. What will postei’ity say, u hen it ob¬
serves
The HOMOGENEOUSNESS of the HUMAN SPE(^IES. 209
serves me o!)!iged to take so much |)aiiis to demonstrate this proposi¬
tion so evident, and yet so frequently denied by some who would pass
for Philosophers. ‘ Nature amuses not herself in matching detached
' parts: She composes at a single cast: hei' organisations are not in-
‘ laid work.’ Her plans are the production of one and the same in¬
stant. There is always the same ruling idea, the same spirit makes it¬
self felt even in the minutest details; it extends through the whole
system, and pervades every branch of it. Such is nature in all her
works. On this principle it is that she forms the smallest of plants as
well as the most sublime of human beings. A production resembling
mosaic work, and all whose parts are not derived from one common
stem, which transfuses its sap to the remotest brandies, is the produc¬
tion neither of sentiment nor of Nature. You will find nothing of
energy, of truth or nature but in that whose exiiansions grow out of
the very body of the subject: it alone will produce admirable, universal,
permanent effects. All my physiognomical researches will be useless,
and I shall have lost my labour, unless I succeed in combating an ab¬
surd prejudice, unworthy of the age we live in, and no less contrary
to sound Philosophy than to experience, namely, ‘ Tliat Nature col-
‘ lects from different quarters the parts of the same face.’ But at the
same time I shall think myself amply rewarded for my laboni’, if I am
so happy as to demonstrate, once for all, the homogeneity, the har¬
mony, the uniformity of the organisation of our body—if I am so happy
as to establish this truth by evidence which it shall be impossible to
resist.
The human body may be considered as a plant, of which every pai t
preserves the character of the stem. I cannot repeat, so often, as it is
necessary, a proposition so self evident, as it is attacked indifferently
on all hands, as it is incessantly insulted both in u ord and deed, as it
is incessantly violated by Authors and Artists.
The
300
FRAGMENT FOURTEENTH.
The greatest Masters present me, in this respect, with the most
sliocking incongruities. 1 am not acquainted with a single one who
has thoroughlji' studied the harmony of the contours of the human
hody : not even Poussin, not even Raphael. Class, in their pictures,
the forms of the face; oppose to tliem analogous forms taken from
Natui'e—in other words, draw, for example, their contours of fore¬
heads ; look for similar ones in nature, and then compare the pro-
gi’essions of the one and of the other—and you will find a want of re¬
semblance which you could hardly have looked for in the first mas¬
ters of the Art.
If I except the lengthening and the tension of the figures, especially
of human figures, I should allow, jierhaps, to Chodowiecki most
sentiment for homogeneity—’hut it is only in caricaturas; I mean to
say, that he succeeds in expressing the coherence of the parts and of
the traits in grimaced subjects, in characters over-charged or bur¬
lesqued. Foi'just as there is a homogeneitv for beauty, the?'e is one
also for ugliness. Every singular figure has a species of irregularity
peculiar to itself, and which extends to all the parts of the body, just
as all the actions of a good man, and the bad actions of a villain,
ever |treserve the character of the original, oi' at least savour of that
chai acter. The greatest part of Poets and of Painters do not pay suf¬
ficient attention to this truth, which may be however of such infinite
service in the cultivation of the fine arts. Our admiration ceases, the
moment we perceive in any subject incongruous parts. Why has no
one hitherto taken it into his head to associate, in the same face, eyes
of a difierent colour? Such an absurdity \vould not be more ridiculous
than that of introducing the nose of a Venus into a face of the Virgin;
an absui'flity which is every day committed, but which does not the less
for that ofiend the observing eye of the Physionomist. A man of the
world has assured me that, at a masked ball, a nose of paste-board only
put
The HOMOGENEOUSNESS of the HUMAN SPECIES 301
put it out of the power of his most intimate friends to discover him. So
true it is that Nature revolts against every thing foreign to herself.
In order more clearly to elucidate the fact, take, if you please, a
thousand silhouettes exactly designed. Begin with classing the fore¬
heads only—(We shall shew in proper time and place, that, after some
signs exactly determined, all real and possible foreheads may be re¬
ferred to certain classes, the number of which does not extend to in¬
finity;) begin, I say, with classing, separately the forehead, the nose, the
chin ; afterwards colh'Ct the signs of one particular class—and you
will unquestionably find that such a form of nose, never supports a
forehead of such another form heterogeneous to it; that such a species
of forehead is ever associated with such a nose of an analogous species.
This examination might be extended equally to the other parts of the
face; and they would support it, if the moveable parts had more sta¬
bility, if they were less suliject to contract borrowed airs, which are
not the effect of the primitive form, of the productive force of Nature,
but that of disguise or of constraint. The examples which I shall
collect in some particular prints will serve as a complete confirmation
of these principles. We satisfy ourselves, at present, with relating the
simple result of our researches.
Among a hundred foreheads which appear rounded in the profile,
I have never found a single one which presented an aquiline nose pro¬
perly so called. In the same number of square foreheads, or which
approach that form, I do not recollect one whose progressions are not
marked by profound cavities. When the forehead is perpendicular,
never does the lower part of the face present parts strongly bent into a
circular form—unless it be perhaps the part below the chin.
When the form of the face is perpendicular, and supported by
bones strongly compacted, it never admits of eye-brows very much
arched.
VoL. II. 4 G
If
302
FRAGMENT FOURTEENTH.
If the forehead advances, the under lip usually projects; only this
rule is not applicable to children.
Foreheads slightly curved, and yet sloping very much backward,
cannot admit of a little turned-up nose, whose contour presents in
profile a marked excavation.
The nearness of the nose to the eye always settles the distance of
the mouth.
The greater the distance between the nose and the mouth, the
smaller also will be the upper lip. An oval form of face almost al¬
ways supposes lips plump and well designed.
Other observations of the same kind, which I have collected, still
need to be confirmed by experience : but here is one whose evidence
is striking, and \vhich will prove to every mind capable of feeling and
of seizing the truths of Physionomy, ‘ How simple and harmonious
‘ Nature is in her formations, how uniformly she rejects patch-work.’
Take the silhouettes of four persons acknowledged to be judicious :
separate the parts of each ; and of these detached sections compose a
whole so nicely adjusted that the joining shall not appear. With the
forehead of the first silhouette assort the nose of the second ; add to
them the mouth of the third, and the chin of the fourth—and the re¬
sult of these different signs of wisdom will become the image of folly;
for at bottom all folly, perhaps, is only a heterogeneous incoherence.
But, it will be said, these four faces could not ‘ be heterogeneous, if
they all belonged to men of sense.’ Be it so : let them have been such
or not, the junction of their decomposed features will not the less pro¬
duce an impression of follv.
Those, therefore, who maintain that it is impossible to judge of
the whole of a profile from one of its parts only, from a simple de¬
tached section—such persons, I say, would be founded in their
assertion, if Nature, like Art, satisfied herself with piecing up her
works. But the compositions of Art are arbitrary, whereas Nature
ever
The HOMOGENEOUSNESS of the HUMAN SPECIES. 30a
ever acts according to permanent laws. Should it happen that a man
of wood sense fall into madness, such a revolution is immediately
O _
announced by heterogeneous signs. The lower part of the face
lengthens; the eyes take a contrary direction from that of the fore¬
head ; the mouth can no longer remain shut ; or else the features
undergo some other derangement which makes them lose their equi¬
librium. In short, the accidental madness, of a man naturally judi¬
cious, will manifest itself by want of harmony, by an incoherence
of the features of the face. If we are desired to judge from the fore-
headonly, we must venture no further than to say: ‘ Such was the
‘ natui’al capacity of this man, before his face was changed by extra-
‘ ordinary causes.’ But if the whole free be exhibited it will not he
difficult to determine the radical character, and to distinguish ^vhat
the man formerly was, from what he actually is.
In order to study Physiognomy with success, you must begin with
studying the harmony of the constituent parts of the face. Without
this preliminary branch of knowledge you will lose all your labour.
Never will any one make progress in the science of Physiognomy,
or possess its true spirit, who is not endowed with a kind of instinct
for perceiving the homogeneity and the harmony of Nature ; who
possesses not that accurate tact, which seizes at the first glance every
heterogeneous part, in other words, everything in a subject which is
only the work of Art, or the effect of constraint. Far removed from
the sanctuary of this divine science be all those, who, destitute of the
feeling to which we allude, dare to call in question the simplicity
and harmony of Nature ; all those, who, considering an organized
body as a piece of chequered work, represent Nature as a compositor
for the printing-press, picking the characters out of different cases.
The skin even of the smallest insect has not been woven in this man¬
ner ; how much less the master-piece of all organisations, the human
body! He who dares to doubt respecting the immediate progres¬
sion.
304
FRAGMENT FOURTEENTH.
sion, the continuity, the simplicity of the organical productions of Na¬
ture, is not formed for feeling her beauties, nor consequently for esti¬
mating those of Art, the imitator of Nature. I ask |)ardon of the Reader
if I ex])i’ess myself with too much warmth; but what I say is of the
greatest importance, and my subject hurries me along. The knowledge
of the homogeneousness of Nature in general, and of the human form
in pai'ticular ; the prompt feeling which impels us instantaneously to
form a judgement of both the one and the other, as it were, instinc¬
tively, furnish us n ith the key of all truth. On the contraiy, is any
one destitute of this knowledge, of this feeling, he has only false ideas
of things. To ignorance and the want of instinctive feeling we must
impute the many caprices and extravagancies which are to be found
in works of Art, in the productions of genius, in our actions and
decisions. Hence the scepticism, the incredulity, the irreligion of
the age we live in. Can he who admits the homogeneity of Nature,
and who possesses the feeling of it, possibly be an infidel ? Can he
refuse to believe in God and in Jesus Christ ? Must he not acknow¬
ledge the most perfect agreement, the most divine harmony ; one and
the same spirit of unity and simplicity in Nature and in Revelation, in
the conduct of Jesus Christ and tliat of his Apostles, as well as in
the precepts which they have left us?—Where finds lie the appear¬
ance, what do I say,—where finds he the possibility of an inco¬
herence?
Let this principle be applied to the human physionomy. It will
continue no longer a problem, after one is intimately convinced of
the homogeneousness of the human form, after it becomes perceptible
on the first glance, after it is felt sufficiently to refer to the want
of this character, the infinite distance which separates the works of
Art from the works of Nature.
Be |)0ssessed of this feeling, this instinct, or this tact, call it by
what name you please, and you will allow to every physionomy only
the
The HOMOGENEOUSNESS of the HUMAN SPECIES.
305
the juft meafure of faculties of which it is fufceptible, and you will
aft upon each individual according to its capacity, and you will
never be tempted to afcribe to a charafter heterogeneous qualities,
which could not belong to it. Faithful to the rules of Nature, you
will work after her ; you will exaft no more than fhe has given;
you will rejeft only what fhe has rejefted. It will be eafy for you
to diftinguifh in your wife, in your children, in your pupil, in your
friend every trait which is fuitable to him, in virtue of the organi-
fation of Nature. By acting with prudence on this original flock,
by giving direftion to the capital faculties ftill fubfifting, you will be
able to reftore to the propenfities of the heart, and to the traits of
the phyfionomy, their firft equilibrium. In general, you will con-
fider every tranfgreftion, every vice, as a derangement of this har¬
mony, You will admit that every deviation produces on the exterior
form alterations which cannot efcape the eyes of the quick-fighted ;
you will allow that vice deforms and degrades man, created after the
image of God. If the rhyftonomift is penetrated with thefe feelings
and with thefe ideas, who will form a luore accurate judgement than
he of the aftions of man, and of the works of art? Will any one
fufpeft him of injuftice? Will not his decifions be founded ou
proofs that are irrefiftible ?
4 II
VOL. II.
AUDI-
3o6
FRAGMENT FOURTEENTH.
ADDITIONS,
In order to guide with more certainty the judgement of the Reader
in the application of the principles which we hat'e juft eftabliflied,
we proceed to exhibit a new feries of portraits. They fliall be ex¬
amples to juftify the rules laid down, and at the fame time to indicate
the deviations.
A.
Here is firft a head in which the nofe and mouth are found in the
moft perfeft harmon)'. The forehead is almoft too good for the
under part of the face. The e)"e pofteffes an exa6l medium in the
combined whole ; and this whole promifes a charafter honeft, in¬
capable of afling from malignity. He has not a great deal of fenfi-
bility, but yet there is nothing harlh in him. The under part of the
face announces a contraUed intelleO:, which you would not have
expedled from fuch a forehead.
The HOMOGENEOUSNESS of the HUMAN SPECIES. 307
ADDITION. R.
The forehead, without being ordinary, is not fo good as the nofe,
and confequently thefe two parts are not Iromogeneous. The laft
announces a man who thinks with much ingenuity; but I do not
find the fame degree of expreifion in the under part of the forehead,
and {fill lefs in the interval between the eye and the eye brow. Be-
fides the ftiff and conftrained attitude of the whole, it forms a contrail
with the eye and mouth, and efpecially with the nofe. The eye¬
brow excepted, this phyfionomy indicates a charafler calm and
gentle.
I
3o8 fragment fourteenth.
ADDITION. C.
This outline drawn after a bull of Cicero, may be produced, in
fome fort, as a model of homogeneity. Every thing in it bears the
fame charafter of ingenuity; every trait is equally cut, poliflied,
fharpened. You will hazard nothing in affirming that this profile is
extraordinary, but I do not find in it the fublime. I would propofe
this phyfionomy as the prototype of an acute and penetrating genius;
but I fufpefl: him a little of giving into fubtilties and minutenelTcs.
Good-nature is not what I would expe£l from it, but rather mirth
bordering on raillery.
The HOMOGENEOUSNESS of the HUMAN SPECIES, 309
ADDITION. D.
This head is one of the moil original, and moft ftrikingly marked.
I difcern in it an air too childifli: the defign in general is timid,
and the contour of the forehead efpecially ought to have been ma¬
naged with more freedom ; but a very beautiful harmony, neverthe-
lefs reigns through the whole. Every thing unites in expreffing a
character of gentlenefs, goodnefs and fenfibility. When the hind-
head is roundly prominent, the forehead and nofe ufually advance
likewife, and the whole face affumes a form more or lefs arched.
In this profile the eye is in truth a little too diftant from the ex¬
tremity of the nofe ; but confidered by itfelf, it depidls, like all the
reft, a foul filled with candour, a mind accurate and juft, rather than
profound.
4I
VoL. II.
A D D H
310 FRAGMENT FOURTEENTH.
ADDITION. E.
A homogeneous face, however fingular it may be in other refpefts,
cliftinguifhes itfelf almoft always by a natural air which ftrikes from
the firft moment. Here is a proof of it. Connoilleur or not, will
any one pretend to doubt of the' authenticity of the profile placed
below Will any one take it for a work of imagination ? Surely
not; every perfon who looks at it muft fay, without hefitation, that
it is true, copied after Nature. And, in elfeH, it is not thus that Art
invents. It never reaches this accuracy of relation, this harmony in
the features and in the parts of the face. A portrait like this in-
ftantly awakens ideas of refemblance to fuch and fuch perfons whom
we think we have feen—or elfe it infpires the idea that there muft
exift phyfionomies which approach to it. Such a forehead never
fupports a nofe defcending in a perpendicular line : there muft be of
necefifity this aquiline nofe, this form of lip, this mouth half opened,
and made for eloquence. It will be eafy likewife to determine from’
this forehead the meafure of the faculties which it contains. We
muft not expea from it the fublime flights of Poetry ; but the whole
features taken together will ever refcue this head from the herd of
ordinary beings. It promifes a man of exaHnefs, the friend of or¬
der, and who carefully retains the ideas which he has once re¬
ceived.
The HOMOGENEOUSNESS of the HUMAN SPECIES. 311
ADDITION. F.
This face too has the imprefs of truth upon it. Obferve what pre-
cifion and harmony are here. The defign of it is ftrongly marked;
but I find an incoherent void in the interval which feparates the eye¬
brows, and their expreflion itfelf appears to me fomewhat vague and
feeble. Befides, the charafter of this forehead might very well re¬
tain the emotions of goodnefs which feem to animate the mouth—
that is to fay, that the fpirit of application of the original, and his
natural firmnefs might eafily degenerate into caprice and obftinacy.
3ia FRAGMENT FOURTEENTH.
ADDITION. G.
A good Phyfionomift fliould know how to dlftlngulfh in every
unknown portrait, the traits which are true, from thofe in which the
painter has failed, or which he has altered: thofe which are in Na¬
ture, from thofe which are out of it. A fingle trait perfeaiy true
fhould fuffice him to determine and fettle all the traits which are only
half true, or which are not at all fo. For my own part, I boall not of
having arrived at this degree of fagacity, at this infalhbity of taft ; I
have thegood fortune, however, foraetimes to approach it lefs or more,
and to make experiments tolerably fuccefsful in this way. Whatever
is in this, it would be difficult to fucceed here with refpea to the
portrait below, in which I do not perceive a fingle part in the exaB
truth of Nature. All I can fay of it is, that the forehead is m har¬
mony with the hair, and particularly with the chin. To judge from
thefe features 1 fuppofe that in the original the eyelids are more
wrinkled, the upper lip much more precife and more prominent
and the parts of the face, properly fo called, better marked in general.
I am equally certain that the copy does not give entirely the expre -
fion of the mouth, already fo beautiful: it ought to be more open,
and lefs undulating. Notwithhanding the imperfeaions of this por¬
trait, I difcern in it hill the charafler of a man not eafy to be fported
with, and whofe prefence alone would overawe mean and corrupte
The HOMOGENEOUSNESS of the HUMAN SPECIES. 313
ADDITION H.
Were it not as yet understood what I mean by the homogeneous¬
ness of the face, this one surely would explain it. Compare the con¬
tour of the hindhead with the forehead, the forehead with the mouth;
and you will find throughout the same harsh and surly character : a
stupid obstinacy is visible in every feature taken separately, and in the
form of the whole. Is it possible that such a forehead should be as¬
sociated with a little sunk lip? Is it possible that with such a fore¬
head, the hindhead should be prominently arched?
4 K
VoL. II.
314 FRAGMENT FOURTEENTH.
ADDITION I.
Here is a striking instance of the hoinogeneousness of the face. This
man lost liis nose hy an accident, and supplied its place by an artificial
one. Was it possil^le for him to make choice of any form whatever
indifferently, and make it equally to accord with the rest of his face?
No assuredly; a long descending nose like this alone could have fitted
him : this progression was the only true one; every other would have
been mcongruous, heterogeneous. After this I ask. If the nose must
not of necessity rise backward, when it thus inclines forward? and re¬
ciprocally, if the hinder ])art must not sink, whe nit is turned up at
the tip? Here is then one primary positive rule, on which the ho¬
mogeneity may be settled with mathematical certainty. As to the
signification of the face which the vignette presents, I would say that
it announces astonishing faculties, but without energy. The whole
togethei, and more particularly still the eye, the nose, and the mouth,
characterize a disposition which cannot Avithout an effort resist the
charms of pleasure.
The HOMOGENEOUSNESS of the HUMAN SPECIES. 315
ADDITION K.
I never had the happiness of seeing this illustrious Princess, distin¬
guished hy so much personal merit, and by so many great cpialities .
I have never had the slightest oportunity of discussing the resem¬
blance of this profile—and yet I am certain that if the mouth is ex¬
actly taken, the forehead cannot be entirely true ; that if the upper
part of this division of the face is hit with precision, there must cer¬
tainly be an error in the section which appears between the eye-brow
and the root of the nose. A face so sublime cannot absolutely admit
of a nostril so small. Besides, the chin and the nose are sufficiently
homogeneous, that is to say, they uniformly announce prudence and
firmness. The goodness and dignity so well expressed in the eye,
are reproduced still more advantageously in the form of the face, and
in the forehead.
316 FRAGMENT FOURTEENTH.
ADDITION L.
Nature had imprinted on this physionomy the image of gentleness
and benignity. Some marks of these are still visible in the copy,
were it only in the mouth ; but the irregular design of the eye, the
immoderate lengtheningof thenose, and the harshness of several other
features, produce a heterogeneous eftect, which does not belong to
the character of this face. The painter intended to give it an antique
form, to introduce an expression of greatness, but, as he has managed
it, that expression has degenerated into hardness ; and in this, per¬
haps, he has only lent it his own character, little formed apparently
tor sensibility. Compare this portrait with the following, to n hich
imagination has not contributed the slightest article
JtOuAlU/l^rj iiUMi. __ __
UuH.iU luuuui>KHrJ.thMUut)f^i.m^.'rt/tei
eLuut.
' m >i.tl
The HOMOGENEOUSNESS of the HUMAN SPECIES. 317
ADDITION M.
In this profile there is much more gentleness, benignity, uniformity,
homogeneity. It wants the vivacity of the preceding one, but you
find in it so much the more trutli and ingenuousness. This character
is less assuming, but knows how to make its faculties turn to good
account, and from that very circumstance its stock is continually im¬
proving. Foreheads rounded in this manner never admit of an an¬
gular nose; and when the mouth expresses so much goodness as this
does, it is inseparable from a look open and benign. With such
a physionomy you are perfectly secured against oflFence and outrage.
A harmony of features so perfectly happy, is a safeguard against every
rude assault.
318
FRAGMENT FOURTEENTH
ADDITION N.
An elevated forehead, which is neither perpendicular nor angular,
almost always supposes hair soft and fine, a chin thick and fleshy, a
nose rounded at the end. When the forehead, viewed in profile,
describes two curves, the upper always falls away backward, and the
lower advances, so as to form afterwards a marked cavity. As to the
portrait under review, it may be reduced as the model of a Thinker
of singular sagacity and penetration. This hap{>y physionomy is
wonderfully characteristic of mind capable of rising, without effort;
he is a man who pursues his object with a reflecting firmness, but
wholly exempted from obstinacy.
. The HOMOGENEOUSNESS of the HUMAN SPECIES. 319
A D D I T I O N O.
The head below presents an assemblage of a forehead elevated and
bald, of a little nose more or less flat, and of a double chin.
It might be adopted as an almost universal law of Nature, that the
eyebrows are always thick when they accompany expressive eyes, and
nearly approach them. This portrait prejudices you in its favour by
the harmony of the features; every thing in it is perfectly homoge¬
neous. Nothing more is wanting to characterize clearness and so¬
lidity of judgment. I would therefore, without hesitation, say of this
face, it is that of reason.
320
FRAGMENT FOURTEENTH.
ADDITION P.
Portraits after Van D YK.
The Portraits on the annexed plate present so many characters of
distinguished merit. I shall endeavour to display what is homogene¬
ous or heterogeneous in the features.
1. VoRSTERMANS. The gentleness and flexibility ofhis mind are
characterized by the contour of the forehead, liy the eyes, and by the
aperture of the mouth ; but the drawing of the mouth itself is defec¬
tive, and tins incorrectness makes it form a contrast with the other
parts of the face. The point of the nose too has something he¬
terogeneous, and the bone of the eye ought to be somewhat less
obtuse.
2. Guzman. This is truly tlie physionomy of a hero; but it re¬
quired a more decided look, and eyes whose angles were more acute.
The design itf the lips is likewise too vague, too feeble for a face so
energetic. In all other respects the upper and under parts of the face
are in perfect harmony.
3. Perera. The chin and forehead are homogeneous; though
tins last IS not sufficiently arched, that is, the contours of it are not
round enough. This sort of elevated and arched foreheads can
scarcely harmonize Avith a nose pointed and strongly marked. Tliey
re([uire one of a middle size, that is, rather small than large, rela¬
tively to the forehead. Observe especially, what is very remarkable,
that such a forehead rising into an arch, and half bald, is usually
combined with jaws and a chin very fleshy. The head of Guzman,
Xhixt oiFranklin, under the letter N. of the additions to this Frag-
ment, anti in a word, tlie portraits on the two preceding pages, fur¬
nish a proof of it.
4. Fritlanu. Another physionomy of a hero, and one of the
most majestic. 1 he character of its firmness is here expressed with
mucli
The HOMOGENEOUSNESS of the HUMAN SPECIES. 321
much truth. This man is formed to command, not to obey. The
mouth in general, and particularly the line which divides it, are too
infipid for fuch a face; the chin and under-chin too fmooth and un¬
meaning. Perpendicular foreheads, like this, always alfociate harmo-
nioufly with cheeks of an analogous form.
4 M
VoL. 11.
AUDI-
322 FRAGMENT FOURTEENTH.
ADDITION Q.
PORTRAITS after Van Dyk.
1 . Peiresc. This Is the phyfionomy of a confummate Politician,
equally dexterous in difeovering and in concealing fecrets, formed
in every refpea for the labours of the cabinet. Faces which draw to
a point thus, from the eyes to the extremity of the chin, always
fuppofe long nofes. Never do we find in them a turned up nofe,
or large prominent eyes. The firmnefs which charafterizes them
deferves rather the name of obftinacy ; perfons of this fort have re-
courfe to intrigue, and aft by indireU means. They carefully flrun
occafions which require them to appear, and to run any perfonal rifk.
2 . ScAGLiA. This face is, if I may be allowed the expreffion, a
mafter-piece of homogeneity. It announces a heart overflowing with
fenfibility, mafeuline energy, and a compofure incapable of being
difturbed. It fuggefts to us the idea of beings of a fuperior order.
Seldom are energy and calmnefs fo happily blended. Need we be
furprized, then, to read the following infeription under his portrait ?
Hie quern tacentem nobilis finxit manus,
Nuper dijertd Principes lingua movens.
Momenta rebus magna perplexis declit.
Sibi nuncfilendovivit, ac procid totinn
Undare mundum tacitus e portu intuens,
Animum adjutura, doElus ex vifis, parat.
Imitated.
In form ferene behold the Sage portray’d,
Whofe tongue the hearts of Princes lately fway’d;
His hand was wont to guide the helm of ftate.
And fav’d his country from impending fate :
Now, fafe in port, he hears the tempeft roar,
And the loud furges dafh the founding fhore :
Experience
'Xic.'l'AiiRjiors uePeires (•.
alfei4'^VXiJXXE.
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The HOMOGENEOUSNESS of the HUMAN SPECIES. 323
Experience-taught refigns all human things
‘ To mad ambition and the pride of Kings
Eyes happier fhores where war and tempells ceafe ;
Where all within, and all around is peace.
3. Cachiopin. This face is drawn entirely in the fame fpirit. It
can fuit only a man of fuperior tafte : the eye indicates love of
the fine arts: the forehead promifes a clear and found underftand-
ing, and quicknefs of conception, rather than penetration. The
nofe goes off a little too fhort, in the under part.
4. Stevens. Here we have a vifible contrail: the under lip
cannot harmonize either with the mouth or the eye. This lall too
preferves an expreflion of gentlenefs which the mouth wants. Ob-
ferve farther, that a nofe whofe ridge is fo broad, and which thus
turns up at the tip, is a very ufual mark of judgement and of natural
wit. You will find here alfo between the forehead and the lower
part of the face, the fame lelation which we have pointed out in
fome of the foregoing heads.
FRAGMENT FIFTEENTH.
RAPHAEL.
I NTRODUCTION.
Hav ing treated, at great length, of the homogeneoufnefs of the or-
ganifations of Nature in general, and that of the human face in par¬
ticular, I thought It would be doing a pleafure to my Readers, and
at the fame time rendering an elfential fervice to Phyfiognomy, to
devote a feparate Fragment to the Works of the greateft Painter that
ever exilled. The Plates which I am going to examine will furnifh
many additional examples of homogeneoufnefs, and heterogeneouf-
nefs; and I fhall take occafion from them to refume a fubjedl which
has by no means undergone a thorough invelligation. For my own
part, I find in the produUions of Raphael, fubjeUs the moft intereft-
ing, and the moft inftruaive for the fcience of Phyfionomies. I lhall
extiadl from them a multitude of important remarks; and propofe
them with the modefty of an Amateur who is not initiated into all the
m).fteries of the Art, but who feels the fuperior merit of this great
Mailer. I will fpeak of them, with the franknefs which becomes a
man who thinks for himfelf, of an obferver who loves Nature and
truth ; in a word, I fhall fubmit my ideas to the fevere and impartial
examination of thofe who are acquainted with Nature and the Arts.
Of thofe, I fay, who are acquainted with Nature; for without fuch ac¬
quaintance, it is impolTible to form a judgement of Art. However
iublime this laft may be, it has no merit but what arifes from ap¬
proximation to Nature. The more it fucceeds in reproducing it,
even
RAPHAEL.
325
even to illufion, the more perfeft will it be; it will be noble and
fublime in proportion to its more exaftly copying beautiful Nature;
but in every age, truth muft conftitute its dignity and its effence.
if *
Once for all—and I owe this declaration to the memory of the im¬
mortal Raphael—once for all, no copy can polTibly reach the per-
fe£lion of his pictures, nor even that of his drawings. The beft are
ever infinitely below the original; and they befides lofe Hill fome-
what more of their delicacy under the graver.
* *
If I am not miftaken, it is with prints engraved after P,.aphael, as
with portraits of thofe illuftrious men who approach the fublime. Akj
one ever hit with fujjicient truth all the dignity of their features; hut no one,
at the fame time, ever totally miffed the exprejfion of them. The juftnefs of
this refleftion will be confirmed, in the fequel, by the portraits of
which Raphael himfelf is the author.
Engravings after Raphael may farther be eflimated as men eftimate
tranflations of the works of a great genius. However faithful, how¬
ever excellent thefe may be, the real Connoiffeur will always give the
preference to the original. Should it happen, however, that certain
faults conllantly appear in different tranflations, it may be concluded,
I think, with abfolute certainty, that thefe faults are chargeable on the
Author, and not on the Tranflator. This is the cafe with the copies
which we are going to examine. We every where find the great
which conftitutes the charafter of Raphael, and which is infeparable
from his works; but we likewife every where difcovcr certain faults
which he had contrafted. I call xhdit great, which produces a perma¬
nent effefl;, and a pleafure ever new. I call that a fault which is con¬
trary to truth and Nature.
4 N
VOL. II.
After
326 FRAGMENT FIFTEENTH.
After Raphael. A.
This perfon feems to regard with a look of compaffion an objedl
which excites forrow: a fublime charafter, full of energy and llrength
of judgement.
To confider feparately every part, every feature of this face, not a
fingle one is to be found perfeftly true, and of which the drawing is
correft. The eye, clofely examined, is quite a caricature; I mull fay
the fame thing of the eyebrow, of the nofe, of the mouth, of the chin,
of the forehead. The part which is the belt managed, the moll elegant
and the moll expreffive, the nofe, is unfuitable to a female face ; it is
not natural—neverthelefs it produces effeft, it feduces, becaufe it is
the caricature, the incorrefl copy of a pretended Greek nofe. The
notched contour of the point of the nofe is likewife an irregularity,
and is not homogeneous to the other contours of that part. Finally,
the chin is mafculine, and out of Nature. Young Painters, Defigners,
Poets! permit me yet once more to tender you this falutary advice ;
Above every thing, aim at truth : be corredl; lludy, copy, meafure
Nature : Be on your guard againll that ideal beauty, thzt great manner,
that high Jiyle, that antique tajle, and all the other fafhionable terms
with which your ears are inceffantly llunned, and your imagination
heated, but w'hich ferve only to miflead you from truth. We fome-
times overlook negligences in a Genius of the firll order, in a Painter
otherwife knowm to be corredl, who, hurried on by his ideas, prefents
tliem hahily in a flight Iketch; but thefe negligences are, not the lels
real faults.*
Many of the inaccuracies in ilie French Engraving, fo ju/lly cenfured by the Author, the Englifh Artifl ha*
latcn the liberty to correU, while the general charaaer of the Original has been carefully preferved.
After Raphael. B.
Attention, defire, hope, reflefting aftonifhment—Thefe are the
principal charafters diftinguifhable in this fecond head of Raphael.
The nofe promifes great elevation of foul, fuperior wifdom and equal
candour. In the mouth there is an air of goodnefs which borders on
weaknefs. The eye and eye-brow announce the compofure of inge-
nuoufnefs, undifturbed by paffion, and the fame expreffion is apparent
alfo in the outlines, from the forehead down to the ear.
I prefent below, in a vignette, a head after Guido, in the fame
ftyle. It appears to me admirable both for truth of expreffion, and
corredlnefs of defign. I mull be permitted therefore to give it the pre¬
ference to that of Raphael, which feduces chiefly by the beautiful con¬
tours of the nofe.
328 FRAGMENT FIFTEENTH.
After Raphael. C.
The ferious caft of this face, and its mafculine energy, deftroy not,
furely, the fentiments of compaffion which are at the fame time
painted on it. It is the affliftion of a good man, fuch as in ef-
feft I find him in the form and features of the face. As I do not
know the attitude of the whole figure, I muff not fay that this air of
the head is affefted ; but cannot help finding fault with the eyebrows,
which fo far from harmonizing with the energy of the whole, are
only feeble and harfh.
The head at the bottom of this page is from the hand of a dif¬
ferent Mafler; but it equally expreffes the intereft of compaffion.
Though drawn perhaps with more correftnefs than that of Raphael,
it has not, by much, the fame energy. This face reprefents the
fituation of a man who groans under the preffure of his forrow,
and who has not fufficient flrength to fupport it: it is a face ra¬
ther ordinary, than fublime.
RAPHAEL.
329
After Raphael. D.
Were this face interfedted by lines, the drawing would be found
aflonifhingly incorrefl: it would again appear how widely the greateft
Mailers deviate from Nature, and that they conceal their faults merely
by dint of genius.
Whatever may be the inaccuracies of this face, it does not the lefs
approach toward the fublime. Every thing in it announces pro¬
found contemplation: you fee here a foul calmly occupied with its
objeft, and which, without being agitated with the more violent paf-
fions, has nothing however of the coldnefs of indifference. Were
every part of this face to be reduced to its proper place and propor¬
tion, the forehead would be lefs mafculine, that is, it would have
fomething more of a curve; the eyebrows would have more preci-
fion; the upper eyelid would be more ftrongly marked and have more
of the arch; the noftril would more clearly appear; the mouth
would be more agreeable, and the lips better formed. Thefe are not
the only faults which disfigure this piece even in the original paint¬
ing. Corredl them, and this head would be a worthy reprefentation
of that of the Virgin. But even in its prefent ftate, it is Hill lovely,
were it but for the contour of the nofe. It will ever be preferred to
the three faces of the vignette below, which are much lefs diftin-
guilhed, and are the produdlion of a pencil very inferior to that of
VoL. II.
4 O
Head
33 “ fragment fifteenth.
Head of an Angel, after Raphael. E.
In m) opinion, this is no more the head of an Angel than it is that
of a man. Why? Becaufe it is compofed of parts altogether hete¬
rogeneous. Whatev^er illufion it may produce as a whole, and let
this illufion proceed from the figure itfelf, or from its attitude, or
from the flowing hair, or, if you will, from the ferious and difcon-
tented air difcoverable in the mouth and in the eye—it is neverthelefs
decidedly certain that this produdlion totally violates every rule of
defign. Ahis judgment will be pronounced on it by every accurate
and unprejudiced Obferver. The nofe, taken apart, is fuitable only
to a young lad of a good heart, but a weak underftanding. The
forehead conceals a refledting charadfer, but at the fame time cold
and obflinate. The under lip, of which the defign cannot bear the
flighteft infpedtion, feems agitated by apprehenfion and terrour. That
eye feeble, and incorredfly drawn, has befides, in my opinion, an
air of timidity. That fire, and that fublime compofure which be¬
come the Melfenger of Heaven, the Announcer of the judgments of
the Mofl High, and the Minifter of his vengeance, is not there difeern-
ible. The upper part of the face forms a contrail with the under:
the former does not admit of that fhrinking under-lip, nor of that re¬
treating chin. At the hazard of fatiguing my Readers, I mull add.
That the ear, thrown to an infinite diflance from the nofe, is a vio¬
lation of the laws of homegeneity. I mull fay farther, that notwith-
ftanding all the efforts of the Painter, the neck is feeble to the laft
degree, and difgufls by its immoderate tenfion.* The Eyebrow,
viewed in front, is perhaps homogeneous to the forehead; but this
trait, after all, is defeclive in refpefl of truth and expreflion.
• Mr. Lavater generally charges glaring defeds of this kind to the account of the copyift, but here he feems
to have deviated from his ufual mode.—Query, Did he ever fee the original, when he fpeaks with fo much
confidence of ilie inaccuracy of the Painter?
RAPHAEL.
331
After Raphael. F.
At fight of this profile, fome will fay with an enthufiafm real or
affeAed, ‘ This is a Greek head.’ Others will exclaim, ‘ It is iinpof-
‘ fible to tell what it is!’ What decifion fhall I then pronounce.^
Yet once more, and a hundred times over, if I muff: repeat it fo
often, ‘ my rule is Nature.’ What impreffion would fuch a face, did
it really exifl, make upon us, and on every man capable of refledlion!
It might perhaps feduce for a moment, that is, we might imagine
that we perceived fomething great in it—but will the heart find there
any thing to folace It, and can we difcover in the combined whole,
the charadler of true greatnefs? This profile wants truth, harmonyj
and grace; how then comes it to ftrike at the firft glance, and by
what charm does it force our approbation.? Not, furely, by that
eye, the defign of which is fo frightful; as little can it be by that un¬
couth trait which reprefents the nolfril; nor thefe lips, as wretchedly
given as all the reft. Where then lurks the illufion? Partly in the
beautiful contour of the forehead; perhaps alfo in the eyebrow, which
poffeffes much delicacy, notwithftanding the incorredlnefs of the de¬
fign; it is efpecially in the contour of the nofe, from the eyebrow to
the extremity of the upper lip; finally, it is lefs or more in the chin.
But however beautiful thefe parts may be, they want exprefiion; they
flatter the fenfes, but fay nothing to the underftanding.
332
FRAGMENT FIFTEENTH.
After Raphael. G.
It cannot be doubted that this print is infinitely inferior to the ori¬
ginal. Examined clofely, and feature by feature, the defign of it is
contemptible. It is a defedlive performance, in which to no purpofe
you look for either Nature or Art; every thing in it is Ipoilt by af-
feflation. Can thefe be eyes? Is that a mouth.? and what means
that nofe, as to the nollril at leall? The hand at the bottom of the
plate, is neither that of a man nor of a woman. This wretched copy
is probably the effort of a young Artift eager in the purfuit of genius.
What difagreement between the nofe, the eyes and the mouth! There
is at molt a kind of relation between the chin and the mouth; but
this laft is fo bungled, particularly In the corner of the lips, that it
is impoffible to charge it to the account of Raphael. The eyes are
fore-fhortened; but wherefore, in the fame figure, and in the fame
pofition, not forefhorten alfo the nofe and the upper lip? which, by
the way, can be the lip neither of a man nor of an Angel, nor that
of an animal. The forehead is the feat of profound and concentrated
forrow which tends to fainting, of which the mouth gives the ex-
preflion.
RAPHAEL.
333
After Raphael. H.
This head was copied from a fimple iketch in the colleaion of
Mr. M, a Member of the great Council of Bale. A face full of
foul and of a fanaity truly apollolic. However carelefs a fketch ot
Raphael may be, you always difcover in it the great Raphael:
where the fame fenfibility, every where a certain effea. Alter no¬
ticing twenty faults in one of his pieces, the queftion will always re¬
cur in the end, ‘ But how comes it, that this face produces a hundre
‘ times more effea than fo many other defigns_ more_ laboured and
‘ correa.?’ Here the forehead, confidered by ufelf, is neither wel
lhaded nor well drawn. The eye-brow is fcarcely vifible The fo™
of the eyes is trivial to the lall degree. The contour of the cheeks
has nothing to diftinguilh it, and cannot with ftria propriety be ca e
beautiful. In what, then, confills the happy expreffion of h^ad-
Why are we inftantly difpofed to call it the head of an Apollle? How
come we to dwell upon it with a religious veneration?—1 his is the
reafon—More than one fpecies of beauty diftinguilhes this head, an
contributes to the furprifing effea which it produces. Firft that
large nofe which polTeffes fo much energy; then the mouth, though
the defign of it be a little too vague; add to that the loftnefs of t e
hair of the beard-but above all the feaion of the forehead which is
between the eyes, near the root of the nofe—in a word, the limp i-
city of the compofition, and the harmony of the whole, every part
of which contributes to the fame end. We find in it a mind attentive,
a charafter full of energy, a foul powerfully interefted m its objeH,
and impelled by vivacity of feeling.
VoL. 11 .
334
1 11 A G M E N T E I F T E E N T H.
After Raphael. I.
The oiiginal prefents great beauties: the copy conveys them with
all poffible exadnefs—and yet we muft not fay, that this head is ad-
Ta ’ W-1 P^^duce a decided
effea. Without being ordinary, it is neither an accurate produc-
^ fo fucceed in painting, the one or
he other is effentially neceffary. It is not thus that oLr and Hol¬
bein defigned: they accuftomed theinfelves faithfully to follow Na-
ture. In the face below, all the faculties of the foul appear to be
upended. It expreffes neither profound meditation, nor tender af-
ledhon. The eyes, and even the whole together, fufficiently cha-
raflerize the Virgin Mother of the Saviour; but the eyebrows are too
nek, and ought to have been more arched. The under part of the
no e IS mean. That mouth, open from the one angle to the other,
thereby becomes infipid. The lips are ill formed, and the chin like-
wife has been neglefled.
RAPHAEL.
335
After Raphael. K.
Joseph. In the original picture this head infpires admiration and
refpedl; and the very copy approaches the fublime. Yet the con¬
tour of the forehead is palpably inaccurate; in other words it is not
defigned in all its purity: the eyebrows and noftril are whimfical; but
every thing elfe announces the fandlity of a patriarch, a calmnefs not
to be difturbed, venerable goodnefs, modefty inacceffible to vanity,
a moderation which alone would be fufficient to form the eulogium
of this charafter.
336
FRAGMENT FIFTEENTH.
After Raphael. L.
It always gives me pain when I feel myfelf under the neceffity
of finding fault with works, which I could have wilhed it had been
in my power to commend. But Amicus Plato, Amicm Socrates, fed
magis arnica Veritas.* The drawing of this forehead is timid and def-
titute of character. The nofe would be too mean even for an ordi¬
nary child. There would be an expreffion of goodnefs and greatnefs
in the mouth, were the upper lip a little more, and the lower fome-
what lefs llrongly marked. The eyes promife a judicious mind, ex¬
cellent difpofitions, dignity—but look not here for the fublime. The
under part of the chin, the ear, and the eyebrows, are almoft below
criticifm—and yet this head produces the moll ftriking effedl in the
original picture; on looking at it, you fall proftrate, and adore it.
In works of a certain defcription all depends on a little more or lefs.
Plato is my friend, Socrates is my friend, but Truth is a ftill dearer friend.
RAPHAEL.
337
After Raphael. M.
Infant St. John. This head and the three preceding have been
detached from the Piflure of the Holy-Family, and are faid to have
been copied on oiled paper. The one below does not the lefs pre-
fent the forehead of a perfeft changeling. The nofe is deftitute of
charafter, and contemptible efpecially in the under part. The eye
and the mouth exprefs a fixed attention ; I find in them much fim-
plicity and goodnefs, but nothing that indicates a fuperior mind.
4Q
VOL. II.
After
338 FRAGMENT FIFTEENTH.
After Raphael. N.
This figure reprefents, according to all appearance, Elizabeth, the
Mother of St. John-BaptiJl. It announces a mind attentive and vio¬
lently on the ftretch, but which by no means approaches the fub-
lime. Here too there is not a fingle part correHly drawn. This
criticifm is applicable efpecially to the eyebrow, the noftril, and the
mouth, or rather to what is fubftituted in the room of thefe parts.
The forehead, the nofe, and the chin, are paffable. I will allow a
certain precifion even to the eye, but, in my opinion, it is too
piercing: I could wifh to fee in it more of dignity and devotion.
What gives to the heads of Raphael, even to the moll ordinary, a
merit fo diftinguifhed, and a charafter of originality, is the fimpli-
city of the compofition, the happy unity of ideas, which all concur
toward one and the fame end.
RAPHAEL.
339
After Raphael. O.
St. John Baptist. The original pi6lure is in the Gallery at Duf-
Jeldorp, and is confidered as one of Raphael’s mailer pieces. There
is a fimplicity in it blended with a dignity which cannot fail to pro¬
duce flrong and lalling imprelllons. A judgment may be formed of
this, to a greater or lefs degree, even from this third copy. How
much of nature and expreffion ! It is the image of fpotlefs inno¬
cence, but you perceive in it not fo much of ‘ the fpirit of Elias’ as the
charafter of ‘ the friend of the Bridegroom.’ (Jo. iii. 29.) The parts,
feparately confidered, are not executed in a fuperior manner ; and
yet the whole produces a fine effeft. The mouth has fomething af¬
fectedly precife and even infipid. The hair is jullly admired; but is
not eafily conceivable, why, in a head of fuch energy, the beard fhould
have been forgotten.
F R A G M E N T F I F T E E N T H.
34 «
After Raphael. P.
Though this print be perhaps only a tenth copy, it is notwith-
ftanding an admirable production, full of foftnefs and fimplicity.
The difpofition, the attitude, the details, every thing in it breathes
the calmnefs of innocence. In thefe features is it poffible not to
difcover the Virgin Mother of Jefus? Is it poffible not to difcover
in them a charafler wife, prudent, and difcreet, exempt from pertur¬
bation and paffiion ? There is not a lingle particular, even to the
hands, that does not exprefs this charafter; but the contour of the
nofe has loft much of its dignity through the fault of the Copyer.
If we except the timidity and pitifulnefs of the drawing, and par¬
ticularly of that right ear which has been fo ffiamefully neglefted,
we find in the figure of the Child the chara£fer of uncommon energy.
It promifes a Perfonage who will fignalize himfelf by great aftions ;
who will not leave the world, without leaving in it eternal monu¬
ments of his glory. He is born to Royalty, and feems already to
feel his dignity. In other refpedts the features of the face fuggeft no¬
thing of the amiable ingenuoufnefs which fuits his age and charadler :
it might have been preferved however, for fimplicity is by no means
incompatible with heroifm, though thefe two qualities are rarely
found united in the fame perfon. The under part of the face likewife
gives difguft by an air too timid and too vulgar.
RAPHAEL.
341
Clemency, after Raphael. Q.
The more that forms poITefs of the truth of Nature, the more cor¬
rect and harmonious will be the defign—and the more will thefe
forms pleafe the eye, and fatisfy the mind. This head is better
drawn than any of the preceding, though ftill far from perfedtion. It
is quite in the fame fpirit: the fame charadter feems diffufed over
all the parts of the face. The contour of the nofe, I allow, goes off
too much in an angle, and prefents fomething of harlhnefs; but is
not for that deflitute of powerful expreffton: it indicates as much
firmnefs as dignity; and, in this fenfe, may be confidered here as the
mark of a character of redlitude and impartiality. In general the
Painter has introduced into this figure much clearnefs and energy: a
noble fimplicity animates the whole, and every part taken fepa-
ratelv. The eye, the eyebrow, and the mouth, are in the moft per-
fedt harmony. Every thing announces an indulgence and good¬
nature unmixed with weaknefs, clemency founded on juftnefs, nothing
of precifenefs or affedtation. It requires only a flight degree of at¬
tention to difcover that this figure has been copied after the marble t
it is impoffible to doubt, at leafi, that the Artift, in imprinting his
own genius upon it, has followed the model of an antique.
4 R
VoL. IL
After
342
F R A G A 4 E N T FIFTEENTH.
After Raphael. R.
We have here neither a God, nor a Demi-God; but, if this figure
be prefented to me as that of a Prophet or Patriarch, I will not hefi-
tate to place it in the highell rank. Here, too, the hair and the
beard have a fedudtive influence; they throw a fpecies of illufion
o\'er feveral irregularities which might furnifh matter to criticifm, or
even appear fhocking. Such are, for example, the left eyebrow, tlie
total omilTion of this feature above the right eye, and the defian
itfelf of that eye. Such is alfo the noffril, fo frequently, or rather
almoft always, negledled in Raphael’s heads. On the other hand
thefe blemiflies are redeemed by great beauties. The difpofition of
the fubjedl, the attitude of the arms, the hands, the drapery, the flow¬
ing
RAPHAEL.
343
ing hair, the beard—and even, in fome refpefts, the form of the
face, the look, the fhape of the nofe, all are managed in an elevated
flyle which gives animation to the whole. Thefe three figures of
Angels, or would-be Angels, are only lufty flout lads, drawn with¬
out corredlnefs, without truth, without amenity, and without cha-
ra6ler. They are neither children, nor grown men, nor angels, nor
demons. No. a, in particular, is a horrid figure; and, were we dif-
pofed to allow a degree of dignity to No. 3, the nofe mull ever ap¬
pear contemptible.
After
344
FRAGMENT FIFTEENTH.
After Raphael. S.
J / ■!
I love what is exacT, precile and correfl;; what is not lb, cannot
be conliltent with truth. Nature furpaffes, in this refpebt, all the
efforts of Art. She always knows what fhe is about: fhe difpofes
every thing, lire defigns every thing; Hie reduces all to the individual,
which fhe fub-divides into other individual parts. Flence the nearer
Art approaches thefe principles of Nature, the more expreffive will
it be, and the greater effecff will it produce. In the vignette at the
top of the page the Painter intended to rife above ordinary forms;
his imagination fed on intellectual beauty, and yet he faithfully ad¬
heres to Nature and truth.
I. Strikes us lefs than the others, and, 1 think, it has lofl by the
forefhortening, but the under part of the face prefents a dignity not
commonly to be found among men.
a. This figure is too timid to be that of a Mofes; but you perceive
in it, if I may ufe the expreffion, a celeflial origin.
3 . Were
FRAGMENT FIFTEENTH.
345
3. Were the nofe a hair’s-breadth broader, that face would bear
the imprefs of a fublime compofure, and fuperior ftrcngth of mind,
4. This head fuppofes a being above humanity ; and even in the
copy it preferves an energy and harmony which command refpeft.
5. An open and contented charafter, of fmgular compofure and
goodnefs; it announces a mind luminous and formed for enjoy¬
ment.—Yet this face reaches not the fublime, it does not rife even to
true greatnefs.
4 S
VoL. II.
After
1 . It is to be regretted that the forehead is a little too tenfe: it
ought to have bent inward more or lefs toward the middle, and con-
fequently to have defcribed two arches when viewed in profile.
With this exception, the whole taken together, and the parts in
detail, admirably well exprefs attention mixed with aftonifliment;
they promife a charafter truly dignified, a heart expanded to the
reception of truth.
2 . This is a molt diftinguiflred countenance, but it has unfor¬
tunately fallen into the hands of a very indifferent copyift. That
little nofe forms a fhocking contraft with thefe fine large eyes. The
furprife which agitates this phyfionomy appears to be occafioned by
fome caufe of difcontent.
3 . If we except the under part of the nofe, this face rifes to the
tiLie fublime; in other words, it pofTeffes the greateft fimplicity and
the moft powerful expreffion. It fuppofes a reflecting mind, and a
feeling heart. It promifes, in a word, a perfon who will always a£t
with dignity. The fuperiority of this character is particularly dif-
tinguifhable in the forehead, the eyebrows, the mouth, and the chin;
and is again apparent in the wonderful harmony of the whole.
4 . Here again, and almoft always, the tip of the nofe is faulty.
Befides,
RAPHAEL. 347
Befides, there is in this figure a knitting of the eyebrows which gives
it an air of chagrin and fullennefs; the nofe likewife is too near the
mouth. All thefe irregularities degrade this face, otherwife ener¬
getical, and render it difgufting.
5. This affuredly is not call in an ordinary mould ; but it becomes
almoft infupportable from its affefted attitude and the prim air of
the mouth: the drawing of the eye too offends againft correftnefs.
The upper part of the face annormces, befides, not energy, but much
capacity, and a great facility of feizing beauties which affefl; the fenfes.
Excepting the incorreftnefs of the eye, the head which terminates
this article is entirely in the fpirit of Raphael: in other words,
you find in it his purity, his fimplicity, and his genius. The nofe
alone is beyond all price. The upper lip advances too much, and
the under is not much better defigned. It is, in fome meafure, a fault
of habit which recurs in moll of Raphael’s profiles.
:u8 FRAGMENT FIFTEENTH.
Here are nine heads of Raphael, admirably defigned, and which
clearly difcover the fpirit of their Author better, perhaps, than all
the preceding. They likewife polTefs more truth and correftnefs.
I fhall fay a few words on each in particular.
1. Is a man of good judgment, of fmgular honour and probity.
2. A charafter firm, manly, and prudent; eftimable, and even
great, if you will, but not fublime.
3. Neither is this fo, though perhaps with fiill more merit. I dif¬
cover in it much firmnefs and gravity, wifdom and mature refleftion.
4. This is rather the grimace of feeling than real fenfibility. The
air of the head indicates rather a ftupid look than holy rapture.
5. Gravity, wifdom, and dignity, excepting however the ear and
the under part of the nofe. This is the true phyfionomy of a Father
of the Church, though a little more cunning than was necelfary.
6. This fuppofes a man who may have much ability and enterprize,
but to whom I cannot allow elevation of foul.
7. I flaould expefil from this head clear ideas, but it does not an¬
nounce much greatnefs. The under lip finks too much.
8. This face ought perhaps to have the preference to all the others;
it is aftonifhingly harmonious. This is a man capable of giving
good counfel, and who joins aftions to words.
9. A flight degree of incorreTnefs in the defign of the nofe gives
this phyfionomy a vulgar air; in other refpefts it wants not dignity,
and promifes talents.
After
RAPHAEL. 349
After Raphael. X.
Another head entirely in the taste of our painter. How admir¬
able the simplicity of the composition, the fulness and rotundity
of the design, the uniformity and harmony of the whole! You
discover in that beautiful face a mind ingenuous and docile; a marked
passion, but at the same time so gentle, and moderated by so mucli
calmness, that it scarcely retains the resemblance of passion. 1 could
have wished, however, to see a little more connection between the
parts, more of muscular expression, which Nature never fails to
mark to a certain degree, though it be not always strikingly ap]iarent.
In all the heads of Raphael you are sure of finding a beautiful
smooth forehead, a long nose remarkable for the breadth of the
ridge : almost always, especially in profiles and demi-profiles, the
mouth is half open. Through these distinctive features you discern,
in the present instance, attention mixed with astonishment; the cha¬
racter, on the whole, appears possessed of singular gentleness, lirm-
ness, and candour.
350 FRAGMENT FIFTEENTH.
After Raphael. Y
Raphael is peculiarly excellenl in whole figures, in the attitudes,
and in the action. His pictures in this kind have a character of
truth and enthusiasm which I do not find, to the same degree, in his
heads. With respect to the vignette under review, the attitude of
Jesus Christ ought to be, I confess, .somewhat more imposing; but
this figure nevertheless gives full proof of the talents of the designer.
If the features of the face were less concentrated the expression of it
would 1)6 admirable : in its present state it rises very little above
mediocrity.
The other figures are equally striking, as well from the attitudes as
from tlie air of the heatls. In these simple Fishermen you already
distinguish Apostles, and they were assuredly worthy of this high
vocation.
RAPHAEL. 351
vocation. Such men, such physionomies, must necessarily have been
pleasing to Jesus Christ: must have met with a reception from him,
becoming persons sent to him by his Father. The face of him who
is on the prow of the vessel pleases me less than the rest; and the
reason apparently is, that the left eye sinks too much toward the
nose.
352
FRAGMENT FIFTEENTH.
After Raphael. Z.
It is suflicient, I should imagine, to look on these figures and these
pliysionomies, to become sensible that this is an assemblage of great
men.
Among these faces there is not a single one entirely ordinary; but
that of the Saviour Caj eclipses all the rest with respect to both pro¬
portion and expression : it announces most dignity and calmness,
most gentleness and resolution. The character of its greatness ought
to he explained by the form of the face ; by the proportion of the
principal parts; the horizontal parallelism of the eye-brows, of the
eyes, of the nose, and of the mouth ; the perpendicularity of the
nose, the ridge of which is broad and regular. The hair of the head
is
RAPHAEL.
353
is here lefs expreffive than the face itfelf. The attitude is entirely
fuited to the dignity of the greateft and moft gentle of mailers, and
forms a line contraft with the other perfonages of the pifture. Their
features have not the fame regularity. In fome of them the root
of the nofe is too clofe to the eyes; in others the nofe is not
in harmony with the forehead. Thofe marked b, c, i, k, in par¬
ticular are faulty in this refpedt. I have long fearched in this group
for the face of the traitor; there are feveral on which I can fix fuf-
picion, not one which 1 dare pofuively accufe. This, undoubtedly,
is to be afcribed to carelefTnefs in the copyift.
Notwithftanding all their greatnefs, c, d, i, k, feem to polfefs an
equivocal charadler.
I have already remarked that a prominent lip is a dillinftive feature
of moft of Raphael’s profiles: and I muft confefs that, after all my
experience, I have never known this feature in any but perfons of
fuperior merit.
The face marked b apparently reprefents St. John; and, excepting
the fault which I have already pointed out, it appears to me the moft
fublime of all. Such as it is hei'e I prefer to it face J, and much
more Hill to that marked^. In i the height of the forehead, and its
irregular curve, confiderabl)' diminifh the expreftion of the ph)'fio-
nomy, which, in other refpedls, is not ordinary, m Is incorre6l;
this prefents not a character uncommonly fublime, but I fhould
judge the more favourably of his candour and fidelity. Face n pre¬
fents a want of harmony between the forehead and the nofe ; this
latter part like'vife is too near the eye : and thefe two faults would
excite in me fome fufpicion, if, on the other hand, my confidence
were not reflored by the eye, the mouth, the nofe, the chin, and
the hair. The little that we fee of face e decidedly promifes a cha-
rabler energetical and magnanimous, a heart fimple and pure.
VoL. II. 4 U I fubjoin
354
FRAGMENT FIFTEENTH.
I fubjoin a St. John after Holbein, a face in which are depifted
innocence and benignity. From this fpecimen we are enabled to
judge how far Holbein would have purfued his art had he lived at
Rome with the Raphaels and the Michael-Angelos.
RAPHAEL.
355
After Raphael. A. A.
This figure is detached from the celebrated piflure of the Tranf-
figuration—and, even in the copy, the face ftill preferves an air of
greatnefs; it would be fublime were it lefs fquare, and fomewhat
more oval. What fimplicity, and what beautiful management in
the parts ! What exprelfion, efpecially in the arch of the eye and in
the regularity of the ridge of the nofe ! And what ftill adds to the
majefty and energy of the whole is the balancing and happy eafe which
the Painter has fo Ikilfully given to the attitude of that body float¬
ing in the air. Every thing here recalls the filial confidence and the
fervour of ‘ Him whom the Father heareth always.’ This is not the
adoration of a Sinner imploring mercy; it is not that of an Angel
proftrated before the throne of the Moft-High; the Saviour of the
World alone could, with fuch confidence, addrefs the God from
whom he proceeded. I find not, however, either in the form or
the air of the head, that charafler of gentlenefs and humanity which
I delight in afcribing, even in the height of his glory, to Him who
always fpake and a£ted with the fimplicity of a child. This face
announces rather the Sovereign of the World than its Saviour.
Attending to proportion, the hands are too fhort, and for this reafon
they are deficient in point of dignity. A figure fo tall and beautiful
is ill afTorted with a hand of that breadth, and fingers fo unnaturalh'-
fhortened.
356 FRAGMENT FIFTEENTH.
B. B. Conclusion.
Portrait of Raphael.
Raphael is, and ever will be in my eyes, an apojlolical man —in'
other words, he is, with regard to Painters, what the Apoftles were
compared with the reft of mankind. And as much as his works are
fuperior to thofe of all the Artifts of his clafs, fo much is his beauti¬
ful figure diftinguilhable from ordinary forms. The moft indifferent
portraits of him furnifh the proof of this alTertion, and the beft, I am
fure of it, are far below the original.
Art never ca7i come up to the beauty of Nature. This is a propofition
which I intend foon to confider, and fhall endeavour to eftablifh;
but I forefee it will hardly fucceed, becaufe it attacks the inveterate
prejudice of ages. Be this as it may, take a thoufand portraits of great
men : examine them well; and you will not find a fingle one which
fully conveys, much left furpaffes, \he. principal char abler of the original.
Place fuch original by the fide of the copy; put it in exactly the
fame light; wait for the moft favourable moment of the phyfionomy;
pay no regard to acceffory ornaments, to colouring, to what is pic-
turefque in the attitude : compare fimply the forehead, the eye, the
mouth, the harmony of the whole—and you will always find the moft
cxquifite ideal form far below Nature. Let us underhand one an¬
other however. I fpeak of great phyfionomies, and of the great cha-
rabler of thefe great phyfio7iomies. It is evident, lor example, that in
the portraits of Van Dyk the hair is ideal. Nay more; that Painter
communicated to his heads the air of his own phyfionomy: he
thereby ennobled them, if you will; and this talent was common to
Rubens, to \^an Dyk, to Raphael. But this charadler of ideal beauty
which ftrikes fo powerfully in their figures, I can hardly find except in
the acceffories, fuch as the hair, the drapery, the great effefts of co¬
louring, and of the clare-obfcure; it is very far from appearing to the
fame degree in the effential parts of the head, in the look, in the
RAPHAEL.
357
(pace between the eye-brows (fo frequently neglefted), in the mouth,
and the exterior contours. If it be true, great Raphael, that the
llighteft reflex of thy beautiful phyfionomy has ennobled features the
moft ordinary, what muft the crayon, what mull the pencil have
been, that was capable of catching the fublimity of thy own?
Why would Mengs never fuffer his portrait to be engraved, not
even under his own direblion? Becaufe he knew that the utmoft
effort of art could never produce any thing but a caricature.
Every man phyfwgnomically beautiful performs an act of humility
when he fubmks his head to imitation, whatever the talents of the
imitator may be.
Form the moft complete colleftion of the heads of great men; vifil
cottages as well as palaces; and produce every human being in whom
you have difeovered real greatnejs. If you find the charafter of
this greatnefs completely expreffed in their portraits, in a fingle in-
ftance—I will fubmit patiently to the fevereft reproach.
But, to apply thefe principles to the head of Raphael, I conclude
from them, that the majeftic and affefting beauty which ftrikes us in
all the portraits of this illuftrious Artift was only a feeble imitation
of the beauty of his own features.
Flere is one portrait more after an excellent drawing, which has-
much the appearance of being a produ6lion of his own. I found
this judgment on tlie fimplicity of the work; for a modern Painter
would not have failed to cmbelliflt it and play the mannerift.
In elfe£l what gentlenefs and what fubliine harmony in the whole
of this phyfionomy! Net the llighteft contradiction in the features;
nothing over-charged, no grimace: nothing harftr or forced. Every
thing here is exprelfive of fenfibility; every thing indicates a heart
formed for feeling and enjoying, a foul tender and impalfioned,
divefted of fear and vanity, carried awa)’, if I may ufe the exprellion,
by a perpetual enchantment, which calls up. in cndlels luccelllon,
5/ol. 11. 4 X numberlels
358 FRAGMENT FIFTEENTH.
numberlefs delightful ideas. The fublime of this face confifts in its
extreme limplicity, and that fimplicity is the refult of the proportions,
of the principal Jor^n, of the JurJaces and the contours. There is a
wonderful harmony among all the parts, and yet this face is not of
the highell order of the fublime. It were poffible to add to it Hill
ideal beauties: but, thus embellifhed, it would lofe that charminsr
fimplicity which dillinguifhes it, and which is equally to be found in
all the produftions of Raphael. And in this refpeft, I repeat, it is
admirable. The Works of Art of ancient Greece have likewife
their charafter of fimplicity—but we are always tempted to fay that
they rife a little above humanity : whereas in the pi£l:ures of Raphael,
even thofe in the grandefl ftyle, every perfonage feems to defcend to
our level, and to invite our confidence. All his figures of Mary, of
jefus, of St. John, of Jofeph, preferve that familiar, affedlionate
and candid air, which it is impolfible to refufe to the phyfionomy of
the Artifi himfelf, and which I diftindlly perceive in it, whether I
confider the whole together, or the air of the head, or even every
feature apart.
Love and pleafure, fimplicity, and a happy imagination, feem
poured witli profufion over that face. The poetical fentiment which
runs through it admits neitirer of realbning, nor analyfis, nor me¬
thodical arrangement.
That open and ferene forehead promifes a conception that has no
occafion for effort: the fpace between the eye-brows is a fecond mark
of this: this part is too fmooth, too little furrowed to admit of its be¬
longing to the political Speculator, to the Logician, to tire Metaphy-
lician, to the Warrior. The fame charafter appears in the eye-brow.
'I'he eyes do not fparkle with a fprightly vivacity: they are not agi¬
tated by an unbridled imagination; but I fee the fenfibility of nature
beaming in them, the love of art carried to the excefs of paffion. The
print conveys them however with too much harfhnefs.
The
RAPHAEL. 359
The nofe, the mouth, and particularly the chin, the neck, the
attitude, the hair—every thing bears the fame charafter: there is,
throughout, the fame tone, the fame fpirit: not a fingle feature exag¬
gerated or laboured. A gentle tendernefs breathes in the whole of
this phyfionomy.
Where is the human bein^ who refembles him ? When I wilh to
fill my mind with admiration at the perfeftion of the works of God,
I have only to recolleft the form of Raphael.
360
FRAGMENT FIFTEENTH.
Of thefe four heads the three firft have certainly been copied after
the fame original; and with all their faults they fill bear the imprefs
of a dignified and gentle tranquillity; that fpecies of tranquillitv
which is equally remote from cold indifference and turbulence of
palfion. This calmnefs is fupported by a fecret energy; the look is
full of warmth ; it promifes a man of much refledion, but who will
not dwell on the fubtleties of analyfis.
The firft of thefe heads may \ ery poftibly he the weakeft ; but it
has more dignity than the fecond, becaufe tiie chin of this laft is too
much fliortened. The third is ftill more animated—but the fourth
rifes to the fublime. This charafler is fecured to it by the look,
by the attitude, by the nofe, the mouth, and the hair, and above all,
by the line of the eye-brows, and its flope toward the root of the
nofe. There is a tendency to feeblenefs in the point of the nofe, and
the fhortnefs of fpace between the nofe and the rnoutli. Neither do
the chin and forehead contribute to the perfect harmony of the whole
—but, independent of thefe imperfeclions, I declare that I have never
yet
RAPHAEL.
361
yet met with a single physionomy equal to this, as I have not hitherto
seen one picture of the same merit with those of Raphael. A single
figure of this great Painter, an air of PergoRse, a passage of Klop-
stock, is all I want to charm my eye, my ear, and my heart; to fill
me with the most delicious pleasure.
4 Y
VoL. II.
FRAG-
FRAGM ENT
SIXTEENTH.
OF THE
IDEAL BEAUTY OF THE ANCIENTS;
OF
BEAUTIFUL NATURE, AND ITS IMITATION.
Among the works of Art the first rank has always been assigtied to
the Greek statues of the refined ages of Antiquity: Art has never
produced any thing more sublime, or more perfect. This is a truth
generally admitted, and I proceed on this supposition, at least for the
moment. But from what source did the Ancients derive the idea of
this perfect beauty, of this beauty, in some sort, more than human?
This question may be answered in two dift'ercnt manners. We must
either believe, ‘ That their Artists knew better than ours to fill
‘ their minds with sublime ideas; that tbeir imagination created forms
‘ more perfect: that, in a word, their works were the fruit of a poetical
‘ genius superior to that of the moderns’—Or else it must be said,
‘ That they had before tbeir eyes models more perfect, a more beau-
‘ tiful Nature whicb gave the tone to their imagination, and after
‘ which they |)roduced their master-pieces.’
Thus some look on the monuments of Ancient Greece as so many
new creations, n Idle othei’s consider them as poetical imitations of a
Nature perfectly beautful.
I embrace this last o|Mniou, which appears to me the better founded.
The subject is interesting, and I believe it cajiable of being demon¬
strated ; but the discussion would require an abler pen than mine.
I must
OF THE IDEAL BEAUTY OF THE ANCIENTS. 363
I must be permitted, howevei’, to make in tills place a reflection
which naturally enough presents itself: ‘Alan cannot create' This
is a right, this is a privilege which the Being of Beings has reserved
to Himself alone. He only ‘ ealleth the things which are not^ as
‘ though they were' The power of man is limited to imitation ; this
is his study, his nature^ and his art. From the moment of his birth
to that of his death, he acts only by imitation. In great things as
in little, all that he performs, all that he presents as a production of
his own, as the work of his hand, as the produce of his mind, all
is copied and imitated. He does not create his own language: he
speaks it after others. He does not ci'eate written characters: he
adopts those already formed. He does not create images; every
image supposes a model. The child of a Frenchman learns French ;
the child of a German speaks German.
The pupil of a Painter imitates the style and manner of his master,
well or ill.
It were easy to prove by induction, and in the most satisfactory
manner, that every Painter has copied the Masters whom he had, the
age in which he lived, the objects which surrounded him; that,
finally, he copied himself. I'he same thing holds good in Sculpture,
in Literature, in Alorals.
Let a superior man excel in the fine arts, or in the sciences; let
him distinguish himself by eminent virtues, his manner will always
be an imitation of the model which he proposed to himself, only
this imitation will be modified hv the situation in which he finds him-
self placed.
Can a truth established h^r so many proofs he seiiously called in
question? It is impossible for me to imagine it. Recollect the names
of Raphael, of Rubens, of Rembrandt, of Van Dyk, of Ossian, of
Flomer, of Milton, of Klopstock; examine their works, and you
will see that these excellent Originals are, at bottom, nothing more
than
8f)4 FRAGMENT SIXTEENTH.
tlian copyists; that tliey have copied Nature and their Masters; that
they have copied theiiiHelves. They have individually observed
Nature after the works of tlieir predecessors; and this is what has
jilaced them in the class of Original Geniuses. The imitator who is
destitute of genius copies servilely: he crawls in the footsteps of his
master: he knows not howto enter upon his subject; he introduces
neither warmth nor interest into it: he satisfies himself with tracing
stroke for stroke. The man of genius goes a very different way to
work: he too imitates, but not as a school-boy: bis imitations are
not an assemblage of small pieces assorted and inlaid : he melts down
his materials, and, by a skilful disposition, forms of them me homo¬
geneous 'inJiole; and this reproduction appears so neiv, so ditferent
from a vulgar composition, that it passes for original^ that we look
upon it as ideal, as an invention.
The Painter is creator of his portraits, the sculptor of his statues,
much in the same sense that the Chymist is creator of metals.
Beautitnl works of Art always suppose, then, prototypes still more
exquisite, a Nature still more beautiful; and, on the part of the
An 1 st, an eye formed for perceiving and catching those beauties.
Genius can do nothing without the aid of the senses. Unsupported bv
them it is merely a torcli extinguished. It is under the necessity of
being stirred, of being carried along, by external objects. It assumes
the tone of the age, and communicates its own tone to tlie age in
return; and, in some sense, only gives it back, in other forms, the
materials originally received from it. Will any one after this
atteni|)t to persuade us, ‘ That the Greeks have not imitated Nature?
‘ That they have not chosen their models in the real world u hich
‘ surrounded them, and which immediately affected their senses ?
‘ That their u orks are so many arbitrary creations, the jiroduce of a
‘ happy imagination ? That they have been formed, if I may so ex-
‘ press myself, after the apparitions of a superior world?’ For my
own
OF THE IDEAL BEAUTY OF THE ANCIENTS. 36.5
own part, I am persuaded that the Ancients drew from the common
fountain which furnishes the idea of all our productions, I mean,
from Nature, from the works of their Masters, from their own orga¬
nization, and the sensations which it excited in them. But, in all
these respects, they had advantages and helps of which we are desti¬
tute. The blood was purer among the Greeks than with us. We
have as models of the beautiful, inanimate statues only: they had be¬
fore their eyes beauty itself personified. While a Carlo Maratti was
continually under the necessity of recopying the face of his daughter
in all his figures of the Virgin ; while other Artists, the greatest number
at least, are limited to a few models, often ordinary enough, and some,
besides, degraded by libertinism; the Greeks, more fortunate, found
every where elegant forms, and to make a choice was their only em¬
barrassment. But from whence did this national beauty proceed? we
know not; it may perhaps be, in part, ascribed to the influence of
climate, of education, and of manners.
Whoever has the least smattering of the first principles of Philoso¬
phy knows, ‘ That there is nothing in the understanding whieh has
‘ not been conveyed through the senses.’ One of the most hackney¬
ed common places, I admit; but not the less, on that aecount, an
eternal truth. Let an ideal form be a hundred times above our
art, above our imagination and conception, it is no more after all
than a reproduction of what has been perceived in reality. Always and
for ever Art regulates itself by Nature; it follows the impressions
M'hich the mind receives from the senses: it is only the picture of our
perceptions, and of the sensations which result from them.
So far from creating ideal beauties, without the assistance of Nature,
I maintain that Art does not perfectly succeed, even when it takes
Nature for a model. A strange paradox! and which cannot fail to
shock our Painters, our Sculptors, and our Poets. I declare, how¬
ever, it is not the love of singularity that prompts me to advance it.
VoL. H. 4 Z Though
.360
FRAGMENT SIXTEENTH.
Though I shall undoubtedly be accused of this by all those who, in¬
capable themselves of every thing like originality, reject a new idea,
unless it is respectfully chalked out after received prejudices, and the
precepts of the School, I am sure of my fact, and I am simply ad¬
vancing a truth when I affirm, ‘ It is only from convention that an
‘ ideal |iicture appears to us superior to Nature.’ Art always has
been, and ever will be, below her: and what we call the exalted beauty
of the ancients was, in all probability, with relation to them, no more
than a feeble imitation of Nature.
M hat IS done in modern times instructs me in what was done
formerlj^; and if we may form a judgement of ancient artists from
our own, they must have come far short of their original. Let me
explain myself. I see on all hands among our Painters, our Sculp¬
tors, and our Poets, not a single one who comes up to Nature, much
less who surpasses her. If an Artist excels but to a certain point, if
he succeeds a little better than the generality, his work is imme¬
diately exalted to the rank of ideal beauties. But does this boasted
pi'oduction actually exceed Nature ? Does it even express all her
beauties to the same degree ? When an Artist has corrected some of
the faults of Nature, he imagines himself still capable of embellish¬
ing her, even when she exhibits herself in all her perfection. A
Painter, a Sculptor shall efface a shocking deformity, shall soften a
trait that is rather harsh, shall fill up a disagreeable void, shall esta¬
blish proportions which may appear to him badly observed. This
he knows how to do,—and this he frequently does without address
and without art. By dint of rules, of manner, and of patching, he
is lucky enough to disfigure a face which, with bolder traits, would
have been more expressive, nay perhaps, more agreeable, and which
loses its whole effect in that finelj' decorated copy.
But even supposing tlie Artist to have performed his task with
judgement; supposing bis corrections analogous to the spirit of the
physionomy—-
OF THE IDEAL BEAUTY OF THE ANCIENTS. 307
physionomy—(an enterprise, however, extremely difficult, and which
supposes a profound knowledge of man)—is he much farther ad¬
vanced for this ? Does it follow that he adds to the beauties of Na¬
ture ? Do not believe it. Never will he go beyond the perfections
of Nature. Can he convey perfectly the expression of beings organ¬
ized and alive, he who is incapable of catching it completely in in¬
animate objects ? He cannot convey the glittering of a suit of armour,
nor the graces of a fine head of hair; how much less capable is he
of conveying the fire of the look, or the majestic air of the whole
head! We frequently extol the productions of Art above those of
Nature, because we have not these last immediately befoie oui- eyes;
and many persons have stood with rapture over a drapery of Rigaud,
or an armour of Rembrant, while these two Masters themselves ac¬
knowledged that their productions could not stand a comparison with
the model. The Artist may succeed perhaps in giving us a portrait
more beautiful than the original, and then it will be said lie has em¬
bellished beautiful nature. But, on examining it closely, it will be
found only a substituted portrait, the imperfect copy of a beautiful Na¬
ture, different from that which he had before his eyes, or the imita¬
tion of another model which was present to his mind. Thus, what
passes for original is, at bottom, only a copy, modified by the habitual
ideas of the Artist, that is, embellished by the sensations which he
had precedently experienced; ideas, senastions which have become
so familiar to him, that, in order to reproduce them, he has no need
of the presence of his object which excited them at first. For a simi¬
lar reason, the works of the Ancients were equally but copies, and,
from all appearance, very imperfect copies, either of Nature herself, or
of the works of another master, who was, in his turn, far from attain¬
ing all the perfections of Nature.
Among the Greeks Nature was more beautifid than with us. This is a
truth which may be demonstrated in every sense by irresistible evi¬
dence.
368
FRAGMENT SIXTEENTH.
dence. And the Art of the Ancients was just as far from catching,
in all its perfection, their beautiful Nature, as the Art of the mo¬
derns is incapable of expressing the less perfect Nature which they
have before them.
I have said that it is very difficult to represent beautiful Nature
well, even in a state of rest. Give to a designer of the greatest ability
the simple silhouette of an accomplished beauty—and what more
simple than the single exterior outline of the profile ? He shall at¬
tempt to trace it ten times, but scarcely once will he catch that line;
and, after he has succeeded, there will always be some deviation im¬
putable to him. The slightest deviation, however, is a matter of
very great consequence, and frequently injures beauty infinitely.
These slight shades, these slender differences of more or less, are pre¬
cisely the thing which reduces the Artist to despair. If it cost him
so many and ineffectual efforts to catch the sinqalest line of beauty,
can he expect to succeed in a whole surface ? a shaded surface ? the
rounding of the contours, the magic of colouring, in a beauty full of
life, of action, and expression ?
How often have the Apollo of Vatican, the Venus de Medicis,
and the Trunk of Hercules been copied ? Have they ever been sur¬
passed ? Flave they ever been equalled ? And yet they are only mo¬
tionless statues. How fi-uitless then must be the attempt to copy the
animated face, which is not fixed for a single moment, which is agi¬
tated by incessant movements! Who will dare after this to maintain
‘ That the Greek Artists were the creators of their boasted ideal beau-
‘ ties ?’ These beauties were copies merely, whicb, compared trait for
trait with the true models, wei'e perhaps only caricatures of them.
Every outline, every work of Art is fixed and motionless: ani¬
mated Nature is, on the contrary, ever in motion, ever less or more
agitated. For this very reason it can never be correctly imitated by
all the efforts of Art. Design supposes a fixed point; and in Nature
there
OF THE IDEAL BEAUTY OF THE ANCIENTS. 369
there is no fixed point. Thus the best copy is, of itself, only a suc¬
cession of instances, which never actually co-existed ; a copy, there¬
fore, cannot be entirely true, nor entirely natural: it is at most only
an approximation. Yet once more: a simple silhouette perfectly
exact is absolutely a physical impossihility —and will any one pretend
that an ideal may be created ? Here I stop ; nothing more is wanting
to demonstrate to the feeling and to the eye, that every ideal pro¬
duction is in reality only a reprodnction of sensations which have
antecedently affected us; that it is only an imitation of beauties
which have struck us; and the re-union of these beauties in a single
one, which by the effect of Art becomes homogenous, or at least
appears such to us.
The Grecian race then was more beautiful than we are; they were
better than us—and the present generation is vilely degraded!
‘ Bnt these same Greeks were superstitious pagans—and we are
‘ Christians enlightened by the gospel.’ This plausible objection to
my doctrine may be started either from malice, or ironically; but it
is easil}'^ removed, and I will make the attempt, from love to those
who seek after the truth.
Christianity acts in the same manner as its divine Author. It does
not give eyes to them who have them not; but it restores sight to the
blind. By it the ear is not created ; hut it makes the deaf to hear.
It is a source of life and vigour to every body, to every vessel, in
proportion to its oi’ganization, and susceptibility. It embellishes all
according to internal and individual dispositions of the subject on
which its action is exerted. Nothing hinders, of consequence, the
superstitious Pagan, in virtue of his organization, and of his natural
dispositions, to receive from the Creatoi’, whose counsels are un¬
searchable, a form more beautiful than ours. Besides, I am pei’-
suaded that, considering his situation, he was not in a state to develope
VoL. H. 5 A his
370 FRAGMENT SIXTEENTH.
his faculties to the utmost of their capacity, and that he would have
turned them to more account, had he been a Christian.
But ought we, after all, to exclaim so violently against our reli¬
gion—against that Christianity which should embellish us? Let us
distinguish between paint and beauty. It is the interior, it is senti¬
ment, it is the proper employment of faculties which ennobles and
gives beauty to the human form. And must it not be admitted that
manjr Pagans of Antiquity followed the light of their reason with
much greater integrity, than many of us Christians of the Eighteenth
century follow the light of our religion ? If the great truths of the
gospel had been revealed to them, with what earnestness would they
not have received them! Had they known Jesus Christ, with what
transports of gratitude and joy would they not have tendered him
their homage!—I hope I shall he forgiven this digression. Some
starched critic will perhaps reprimand me, and ask, with a severe tone,
‘ Why introduce, on all occasions, the name of Jesus Christ into
‘ an essay on Physiognomy ?’—‘ Stand from between me and the sun!’
There is my answer.
Yes, the human race is degenerated ; every thing proves it, and I
s]ieak;it with regret. We are but the refuse of past age's; a corrupted
generation that scarcely preserves the varnish of virtue. Religion is
only an empty sound ; Christianity a jest. What is worse, we are
not sensible of our depravation ; we blush not at our deformity ; we
behold with inditference our bodies, our features disfigured by vice.
This obduracy is at once the summit, and the strongest proof of our
depravity.
With respect to those who are disgusted with the very word Jie/i-
gion, I have another argument to propose. Let them judge of causes
from effects. Let them compare modern productions with those of
the Ancients; the |u’oofs will deduce themselves of their own
accord.
Let
OF THE BEAUTY OF THE GREEKS.
371
Let us recapitulate. Among the Ancients the works of Art are
eternal monuments of a very beautiful Nature, which they have not
surpassed, which they have not even equalled. The Artist is creator
of his works, in the same sense that every one is creator of the lan¬
guage which he speaks. Every Painter, every Artist takes for a
model the animated Nature which encircles him, and the works of
the great Masters who have gone before him. His style and manner
carry the physionomy of the age in which he lived, and frequently
also his own proper physionomy. His ideal beauties and his carica¬
tures are an extravagant eulogium, or an exaggerated censure of
contemporaries: and by taking the just mean between these two ex¬
tremes, you may easily determine the character both of the Painter
and of the Age. The objects which surround him, give the tone to
his imagination, form it, affect it, feed it. He may extend the boun¬
daries of his Art, but it is impossible for him to go beyond Nature.
I have only glanced at this subject, which it would be of so mucb
importance fully to elucidate. It concerns humanity very nearly.
In it Poetry, Eloquence, Architecture, all the liberal Arts, are deep¬
ly interested. What do I say, Morality and Religion would gain
infinitely could we arrive at the capacity of deciding once for all,
what is ideal or cojoy, creation or imitation. Whatever belongs to man.
may be referred to one or other of these classes.
AUDI-
372
FRAGMENT SIXTEENTH.
OF BEAUTIFUL NATURE AND ITS IMITATION.
ADDITION A.
OF THE APOLLO OF THE VATICAN.
noyysi'r^c;
J’ofOxXiioQ diSoisaxToi'
Fco^xq, TEX rouro ^ty-
vunEi/ov UYQ. V.
In thy majestic form and kindred eye,
I trace the features of a noble mind.
So much has been said of the Apollo of the Vatican, that the sub-
jeet is perhaps exhausted. I am not fond of repeating the reflections
of others, and what all connoisseurs and admirers of the beautiful
know by heart. I cannot however resist an inclination of inserting
in this place, the judgement which Winkelman has pronounced on
this celebrated statue, in his History of Art among the Ancients. This
well known passage can never be placed more properly than in a
work on Physiognomy. Only I must be permitted modestly to sub¬
join the remarks which it has suggested to me.
‘ Of all the productions of Art which have escaped the ravages of
‘ time, the statue of Apollo is, beyond contradiction, the most
‘ sublime. The Artist has conceived this work on the ideal, and
‘ has employed matter only as it was necessary to him in order to
‘ embody his thought and render it sensible. As far as the descrip-
‘ tion which Plomer has given of Apollo, surpasses the descriptions
‘ of succeeding Poets, so far is this figure superior to every other
‘ which has been given us of this God. Its stature is above the human
‘ and the attitude breathes majesty. An eternal spring, such as reigns
‘ in the happy plains of Elysium, invests with amiable youth the
‘ masculine charms of his body, and shed a gentle radiance over
‘ the majestic structure of his limbs. Try to penetrate into the em-
‘ pi re
OF BEAUTIFUL NATURE AND ITS IMITATION. 373
pire of incorporeal beauty (1), endeavour to become creator of a
celeftial nature, in order to elevate your mind to the contemplation
of fupernatural beauties: for there is nothing here that favours of
mortality, nothing fubjeft to the wants of humanity. This body is
neither warmed with veins, nor agitated with nerves: a celeftial
fpirit, poured forth like a gentle ftream, circulates, if I may ufe
the expreffion, over the whole circumfcription of this figure. He
has purfued Python, againft whom he has bent, for the firft time,
his formidable bow (2), with the rapidity of thought he has over¬
taken him, and let fly the fatal flaaft. From the height of his joy,
his auguft look, penetrating into infinity, ftretches far beyond his
vidtory. Difdain is feated on his lips (3); the indignation which
he breathes fwells the noftrils, and mounts to the eyebrows. But
a peace which nothing can difturb refides on his forehead, and the
eye beams gentlenefs, as if he were furrounded by the Mufes emu¬
lous to lavifh on him their carelfes. In none of the figures of Ju¬
piter produced by Art, which have reached us, do we fee the Father
of Gods approaching that greatnefs in wliich he manifefted himfelf
of old to the Poet’s eye, that is apparent in the traits which his fon
here prefents. The individual beauties of all the other Gods are
united in this figure as in the divine Pandora. Tlrat forehead is
the forehead of Jupiter impregnated with the Goddefs of Wifdom;
thefe eyebrows, by their motion, announce their will; thefe eyes,
in their arched orbit, are the eyes of the Queen of GoddelTes ; and
that mouth is the very mouth which infpired the lovely Bacchus
with delight. Like the tender Iboots of the vine his beautiful hair
floats around his facred head, as if gently waved by the breath of
the Zephyrs : the ringlets feem perfumed by the elfence of the Gods,
and carelefsly fcattered around by the hands of the Graces. At
fight of this prodigy of Art, 1 forget the whole univerfe ; I myfelf
affume a more elevated pofition to contemplate it with dignity.
VoL. 11 . 5 B From
374
FRAGMENT SIXTEENTH.
‘ From admiration I rife to ecflafy. Seized with refpeft 1 feel my
‘ bofom dilate and fwell, like thofe who are filled with the fpirit of
‘ prophec}’. I am tranfported to Delos and the hallowed groves of
L\'cia, thofe facred fpots. whicli Apollo graced with his prefence ;
lor the beavity which I have before my eyes, appears to acquire
motion, as tliat beauty formerly received, ■which ^va5 produced by
the cluffel ol Pygmalion. Plow is it polfible to deferibe thee, O
inimitable maftcr-piece! To do it juftice. Art herfelf mufl r'ouch-
‘ lale to infpire me and conduft my pen. The lines which I have
now traced I depolite at th)’ feet, as thofe, m’Iio cannot reach the head
‘ of tire d ivinity they adore, place at his feet the garlands with
‘ which they wiflied to crown him.
‘ Nothing agrees lefs with this defcriptio.n, and efpecially with the
‘ cxprelfion which is diffufed over the phyfionomy of Apollo, than
‘ ihe idea of Spence, who pretends to find in this fiatue an Apollo
' the Hunter.’
(Hl/lory of the Art of Antiquity by Wikkelmanx, Huber’s ‘franjlation,
Leipjig Edition, 1781, Vol. Wl. Page
R E M A R K S.
' \An incorporeal heaxity is to my apprehenfion a mere chimera,, and
apjrears to me fullv as inconceivable as a vivified body without a
Jml.
(2.) Hogarth is not of this opinion. ‘ Manly beauty,’ fays he, ‘ and
‘ fiviftnefs of motion, appear to me well chofen attributes to cha-
‘ raftcrife the God of Day. Nothing can be more poetical than
‘ the altitude in which he is reprefented : with one foot gracefully
' ad\-anced, he lets fly an arrow, the emblem of rapidity; which
' may ealiK- be referred to the rays of the fun. This explanation
‘ feem.s at leaft as natural as that of the viftory obtained over the
‘ dramn
O
OF BEAUTIFUL NATUPvE AND ITS IMITATION. 375
‘ dragon Python; the aft ion of which, befides accords but indif¬
ferently with the elevated pohnre, and the graceful air of the
‘ Apollo of the VUtican. The hiftorical details which have been
‘ tranfinitted to us of this celebi'ated flatue, have made fome pre-
‘ fume, with much appearance of probability, that it is a rcprefen-
tation of the Apollo of Delphi. For my own part, this opinion
feems to me fo ^\'ell founded, that I hud no difficulty in adopting
‘ it.’ {ViooxRTn'i Andyfu of Beauty.)
(S-) This obfervation is true; but Winkelmann\vould have exprelfcd
himfelf with more precilion if he had laid, ‘ That the difdain is
marked between and not upon the lips.’ The feparating line which
refults from the pofition and the relation of the two lips, exprelfes,
beyond the power of being deceived, the proud difdain of a di\ i-
nity. The judgment of Hogarth, of confequence, is ill-founded,
and proves that he has ne\'er cither feen the original, nor a good
caff of the flatue. It is however true that this air of difdahi is
difcernible in the line of the mouth alone ; befides, it mufl be
viewed in front, and the light muft fall upon it from above. In
no other refpeft is any trace of contempt imprelTed on that face;
it was ncceflary carefully to avoid every thing that could impair
the beauty of it; with the Ancients this conhderation prevailed
over every other. ‘ They never facrificed beauty to force of
expreflion: they attached themfelves more to ideal forms, than
to Nature, and rejefted every thing that was too individual.’
(Sulzer’s Theory of the Fine Arts under the Word Amtique.)
A D D I-
376 FRAGMENT SIXTEENTH.
ADDITION B.
Let any one make a hundred fdhouettes of the Apollo—and it is
much eafier to draw after a buft, which is immoveable, than after
Nature, which is never entirely fo—they will all differ lefs or more,
and fcarcely will you find a fingle one which gives the contour in all
its purity. Is it needful to fay anv thing more in order to prove
what has already been afferted, ‘ That beautiful animated Nature is
inimitable ? yet one is never tired of admiring this fimple profile
drawn after the fhade. All attempts to account for the pleafure it
conveys are unfuccefsful; and we can fay nothing that does not
fall flrort of the ideas we wiflr to exprefs.
The fublime charafler of this head partly confifts in the pofition
of the forehead, which is neither too perpendicular, nor too Hoping,
and which befides harmonizes fo well with the whole. I admire the
chin flill more; it has nothing either harfli or effeminate, and that
prominent form gives it a bold and manly air: the defign of it is
fimple and correct, and its progrefiion toward the neck is very hap¬
pily managed. The opening of the mouth is neither more nor lefs
than is neceffary to add to the grace and dignity of exprelfion. I
muff fay as much of the regular form of the lips, of which the one
projeHs not beyond the other. The paffage from tlie forehead to the
nofe, and the lower part of this lafl, have loft infinitely in the copy,
from differences which are, in other refpedls, extremely flight.
.-X
♦ * -
^ 0 ‘ *'■»
OF BEAUTIFUL NATURE AND ITS IMITATION. 377
ADDITION C.
APOLLO.
Tliis plate is engraved after a drawing of Seidelmann. The face
is prefented fomewhat more than in profile. The forehead and nofe
are more energetic, more fublime, more worthy of a god, than in the
preceding filhouette. Obferve likewife how far removed the contours
are from the perpendicular form of the famous Greek heads. A line
perfefilly ftraight would infinitely injure this profile (it being under-
flood, however, that this ftraight line muft not be confounded with
thofe which only approach to it *). The breadth of the nofe, near
its root, becomes here the expreffion of a dignity more than human.
The eye, confidered feparately, is not deficient in point of energy;
but it almoft lofes it when placed by the fide of that majeftic nofe.
The arch of the eye is admirable, though rather harftr.
The noftril and the wings of the nofe are drawn without correcl-
nefs, and without charafiler.
You difcover in the mouth an air of diffatisfafilion bordering on
contempt. But this flight dilfonance difturbs not the divine har-
7Uony of the whole. The faint tint of inquietude difcoverable in it,
is abforbed in an inexhauftible fund of energy and tranquillity ; and
this laft charafiler is perfe£lly fuitable to a God viUorious by his
own energy alone. The under lip appears to me too thick, and not
well finifhed ; and, unlefs I am miftaken, neither has the chin the dignit\'
of that of the filhouette. In a word, it is needlefs to add that what
is perceived, or what is conjettured of the fhovdder and of the atti¬
tude, announces heroic force, and prefents to us all the traits of
greatnefs and majefty.
* I muft beg leave, on this occafion, to corre<£l an error which flipt into the German edition, under the
article of the Silhouette of Apollo. It is there faid, * That the contour of the nofe would prefent the expreflion
* of an energy more noble, more divine, if it defeended in a perfectly ftraight line.’ That is not my idea ; 1
meant to fpeak only of a contour which approaches fomewhat more to the ftraight line.
VoL. II. 5 C
ADD I-
378
FRAGMENT SIXTEENTH.
ADDITION D.
OF THE CONFORMymON OF THE GREEKS.
A Pajfagc extraHcd from Winkelmann.
‘ 'Fhere is onlv one opinion refpeHing the beautiful conformation
‘ of the Ancient Greeks; and though it be no longer the fame among
‘ the modern Greeks, yet fome relics of it flill remain. Befides that
‘ their blood has been mixing, during feveral ages, with the blood of
‘ the nations which have fettled in their country, it may eafily be
‘ comprehended that their prefent government, their education, their
‘ manner of thinking, mull have likewife had an influence on their
‘ conficruration. Notwithllandincr all thefe difadvantageous circum-
‘ fiances, the Grecian form is, to this day, boafled of for its beauty.
' It is a facl, that the more nearly Nature approaches to the climate
‘ of Greece, the more beautiful flie is, the more majellic and aflive
‘ in the conformation of man. The influence of climate is fuch, that
‘ in the fine provinces of Ital)', you rarely find on the faces of the
‘ inliabitants any of thofe indecifive and equivocal traits which you
‘ frequently meet with on thofe of the ultra-mountaineers. The
’ traits which charafterife the Italians are noble or fprightly ; the form
' of their face is for the mofl part great and decided, and the parts
' are in a beautiful harmony with the whole. This beauty of form is
‘ fo ftriking, that frequently the head of a peafant might figure grace-
' full)- in the mofl fublime hiflory painting.’ (Is there not in all this
a little tendency to exaggeration? VS'e Phyfionomifls are unfortu¬
nately fometimes rather difpofed this way.) ‘ Neither would it be
‘ difficult to find among women of low condition a model for a Juno.
‘ The kingdom of Naples, which enjoys, more than the other pro-
‘ \ inces, the influence of a mild climate, produces men charaCterifcd
‘ by majelly and flatelincfs of form.—Thus exquilite beauty, which
‘ confilU
OF BEAUTIFUL NATURE AND ITS IMITATION. 379
‘ confifts not fimply in a delicate fkin, in a clear complexion, in eyes
‘ piercing or languifiring, but in a majeflic port, and an intereding
‘ phyfionorriy, is more frequently to be found in countries which
‘ enjoy a temperate climate. If it be true, as an Englifh author, a man
‘ of quality, advances, that the Italians alone are capable of reprefent-
‘ ing beauty to advantage, it is in the beautiful configurations of the
‘ country itfelf that we mufl: look, in part, for the principle of this
‘ aptitude, a matter of eafy acquifition in Italy, where daily oppor-
‘ tunities occur of contemplating the moft beautiful forms. Beauty,
‘ however, was not a gift beflowed without exception on all the
‘ Greeks; and Cotta, one of the perlonages in a dialogue of Cicero,
‘ obferves, that, during his ftay at Athens, he found very few young
‘ perfons who were really beautiful.
‘ The moft beautiful race among the Greeks, efpecially as to
‘ colour, was found in the climate of Ionia in Afia Minor, that
‘ climate under which Homer was born, and by which he was in-
‘ fpired.
‘ One fenfible proof of the advantageous form of the Greeks, and
‘ of the modern inhabitants of the Levant, is, that the broad flat nofe,
‘ one of the greateft deformities of the face, is no where to be found
‘ amono' them. Scaliger maintains that the flat nofe is not to be
‘ found even among the Jews, and that thofe of Portugal have them,
‘ for the moft part, of an aquiline form; hence this fpecies of nofe is,
' at Lifbon, called the jew-nofe. Vefalius obferves, that the heads
‘ of the Greeks and Turks have a much finer oval than thofe of the
‘ Germans and Flennfh. It muft be confidered, on this occafion, that
‘ the fmall-pox is lefs dangerous in warm climates than in cold coun-
‘ tries, where it is a dreadful epidemic, and commits ravages like the
‘ peftilence. Among a thoufand perfons whom you meet in Italy,
‘ fcarcely ten are fenlibly marked with the fmall-po.x. With refpefl
‘ to the Ancients, it appears that this malady was abfolutely unknown
‘ to them.’
A D D I-
380
FRAGMENT SIXTEENTH.
ADDITION E.
Three Greek Profiles after Cozens.
Three Greek profiles, and which have every charafter of being fo.
But what monotony! what difgufting ftiffnefs! Thefe marble faces
poffefs abfolutely nothing of Nature. Such a prodigious value
is fet on Greek profiles, drawn almoft by the rule. A 'thoufand
times it has been faid, and a thoufand times it will be repeated,
that this line is the di{lin£five mark, the true touch-ftone of a
beautiful profile, efpecially of a female profile. To my flrame I
acknowledge that the very fight of three heads fo uniform fatigues
and oppreffes me; that a whole fociety, that a whole nation fo
compofed would be to me infupportable. Not that I mean to cen-
fure the ingenious Artift who defigned thefe heads. He meant to
reprefent a beauty at once gentle and majefiic; and, to this effetl, he
has preferved the fame form of face, varying the eye, the mouth,
and the head-drefs. He has executed his talk ; but it is the prin¬
ciple which 1 combat, and this is what I think on the fubjefl.
1. Nature delights in variety, and the firaight line is the very
effence of monotony.
2. This line exifls no where in Nature, where no one thing- is
meafured by the rule, where nothing is formal. Nature is the fworn
and irreconcileable foe of perpendiculars, and in general of firaight
lines. They are utterly excluded from all that is animated, or even
vegetative.
3. A firaight profile, be it Greek or not, is then a mere chimera,
and no where in reality exifls. It is contrary to the principles of all
mechanicks: it is incompatible too with that of the human fcull,
which, being arched in every direction, can become neither the root
nor the fiem of a line perfeflily firaight.
4. The three profiles we are examining are far from being drawn
by the rule; but they are defiitutc of thofe foft gradations, the deli¬
cately
OF BEAUTIFUL NATURE AND ITS IMITATION. 381
cately undulating line is wanting which we perceive in Nature, and
which in truth we find in the Greek profiles of the greateft mailers.
5. The beauty of Greek profiles is determined not folely by a gentle
progrelTion of forehead, by the uniformity of the forehead and nofe,
by the monotony and continuity of the exterior outline. On the
contrary, it depends quite as much on the obliquity and the pofition
of that exterior line, on its relation to the lower part of the face, to
the upper and hinder part of the head.
6. Whether it be the fault of the original defign, or, which is
more probable, that of the copier, the nofes and chins of thefe heads
are neither antique nor natural, nor true, nor ideal —if, however, any
other diftinftion can be admitted between Nature and the antique, be¬
tween true and ideal, except that of more or lefs; if, however, the
ideal be any thing elfe than a copy of beautiful Nature. I admit at
the fame time, that thefe chins are not ordinary, and that they are not
deficient in dignity to a certain degree; but the tranfition from the
under lip to the rounding of the chin has neither fufficient expreffion
nor truth.
7. The eyes favour firongly of the ftatue; unlefs perhaps this be
done on purpofe, and becaufe the Artifl intended to give every cha-
racleriftic trait with exad precifion.
Head 1, feems to languifh with love. I difeern a majefiic haughti-
nefs in 2 ; and 3 is, in my opinion, the moft reflecling: but none of
the three promifes a mind capable of vigorous thought.
5 »
VOL. II.
A D D I-
382 FRAGMENT SIXTEENTH.
ADDITION F.
This will without hefitation be pronounced a Greek head, and in
truth it has all the charafters of being fuch. Every leading feature
of it is given with freedom ; I do not perceive a fmgle weak part in it.
The bendings, the acceffary traits, every thing appears to have been
produced by a (ingle calf, and from the fame mafs. The nofe how¬
ever flill wants a certain degree of delicacy; it is not fu(ficiently fe¬
minine, and the under part does not exadlly harmonize with the
upper, which is more ftrongly marked, nor with the forehead which
is fo beautifully arched. The mouth is fenfual in the extreme; it
has the air of relifhing pleafure. I might fay the fame thing of that
voluptuous chin; but this exprelTion forms a contraft, lefs or more,
with the hrmnefs, or, if you will, the fliffnefs, of the forehead and
nofe.
OF BEAUTIFUL NATURE AND ITS IMITATION. 383
ADDITION G.
I confider thefe two profiles merely as works of Art, and without
knowing whom they reprefent; but I clearly difcern in them the
fimplicity and dignity of Greek heads: I perceive in them mafculine
energy, a mind firm and calm. 2. approaches lefs to the ideal than 1,
and for that reafon it preferves an air more true, more natural, and
more homogeneous; I fhould expeft from it likewife a greater degree
of fagacity and candour. The other appears to me more fleepy,
more indifferent; and I form this judgement from the part which is
between the nofe and the mouth. The nofiril in both is defeftive,
and by no means accords with the expreffion of the face.
The head at the bottom of the page, which paffes for that of Ap-
pollonius, muff have the preference to the two firft: I fhould afcribe
to it more ingenuity, more firmnefs and elevation.
384 FRAGMENT SIXTEENTH.
ADDITION H.
Three Greek Heads,
A fupenor mind does not always fuppofe an external form per-
feclly beautiful and regular.
Every man of genius is impreffed with the character of Ills great-
nefs; but this charafter is determined by the meafure of his merit.
However admirable the three heads of the annexed plate may be
in their kind, yet nothing in them recalls that ideal beauty of the
Apollo which has fo often been transferred to figures of Gods and
men, and for which the Apollo of the Vatican itfelf is indebted to
the fublime forms which the Artifl had taken for a model.
Thefe faces have a refemblance to thofe of our climate and age : they
have the form and features of them; and, notwithflanding that air of
confanguinity, the more we examine them, the more they infpire us
with refpeft. You difeover in them, with the modifications of each
charafter, a fund of energy and calmnefs, a firmnefs of mind, a rich-
nefs of idea, a fuperiority of genius and faculties, which fix our admi¬
ration, and compel us to revere.
1. I will not take this man for a profound thinker; but I will with¬
out hefitation allow him a poetical and prophetic genius, an inex-
hauflible fource of invention. Were I looking upon this head for
the firft time, and without knowing it, I fhould fay that it dwells not
on frivolous refearches, that it confults not, nor liftens to any perfon,
that it afts of itfelf and without effort. That mind has formed for
itfelf a world apart, where it is in its proper element. I difeern in
the mufcles of the forehead the richnefs of the forms which the Poet
has taken from reality, and of which his imagination has created the
affemblage. Never did the fatiguing intenfenefs of metaphyfical fpe-
culation contrafl thofe eye-brows. Every thing is full of life and
motion;
OF BEAUTIFUL NATURE AND ITS IMITATION. 38.6
motion ; every thing is in a harmony that cannot be destroyed ; every
thino- announces the divine Homer. The beauties of a head such as
this cannot be expressed but by the boldest flights of language ; and I
must entreat the Reader to pardon some expressions \vhich perhaps may
appear to him rather extravagant, but which will better convey my
ideas.
That scull is a poetical heaven into which the vivified images of the
Gods transport all Olympus. There inhabit all those heroes whose
exploits astonish us. It is there that Achilles,
—-- (leycct; luyxXco^l TOCvudOhic
yJiTo ! * Iliad. 20 .
The nose so beautifully arched is made for seizing the most delicate
sensations; and, thougii extremel}'- fine, has nothing efteminate.
These eyes sunk, and deprived of sight, announce a soul so much
the more concentrated; and I durst venture to affirm that they are
inwardly feasting on pictures which an imagination of fire presents to
them. That mouth is the organ of the marvellous, and, though it
has suffered a little in the hand of the copier, it still preserves all the
simplicity of the age of innocence. The hair and beard spread over
the whole a veil that commands respect. The spirit which resides
there is not disturbed by passions: it pursues its own train without
design. It exists only for itself, and the world which it has created,
affords it complete employment and satisfaction.
2 . This head is much more formed for thinking; more adopted to
observation and analysis. It is not so inventive as the one preceding,,
but it is for that very reason so much the more capable of reflection.
3 . This last promises a mind still more profound: its progress will
be slower, steadier, and more sure. \Vitli less facility of apprehension,
it will more firmly retain what it has once seized. It will excel in every
thing that belongs to abstraction or analysis, and its ideas will possess
precision. This is jiarticularly indicated by the contour of the nose.
*-a vast enormous form
hugely extended lies.
5 E
VoL. II.
A D D I-
386 FRAGMENT SIXTEENTH.'
ADDITION I.
Here are two more antique heads to which it is impossible to re¬
fuse the distinctive character of male beauty, that is to say simplicity,
harmony, and energy. Must not forms such as these captivate your
esteem from the first moment? Will any one hesitate whether or not
be should admire that steady and penetrating look wdiich nothing can
intimidate? that forehead so smooth and yet so expressive? that regu¬
lar and energetic nose? that mouth which so well expresses courage?
that prominent chin ? These features w ill strike, w'ill astonish you in
the head which stands in the fore-part of this Vignette; and w'ill de¬
termine the degree of admiration which you must allow to the second.
Th is last W’ill enchant you by its beautiful forehead, by the nose so
gently arched, by the shortening of the upper lip, and the delicacy of
the under—and these different signs will enable you to discover some¬
thing of that exquisite sensibility whicli raises still higher the simpli¬
city and energy of the chai’acter. Must not these observations produce
in
OF BEAUTIFUL NATURE AND ITS IMITATION. 387
in you a desire of living with such men ? A desire which appears to
me so natural, and which I cannot resist. Yet these are not the
forms of an ideal world; they are only the caricatures of beings
which formerly existed in reality. Formerly ?—And is it then im¬
possible that our factitious and enervated characters should hencefor¬
ward attain to the source of simplicity and energy? Ah, if the aspect
of the beautiful forms of Antiquity could make any impression on my
Readers! At sight only of these two heads (and I defy Art to re¬
produce them after ordinary faces, unless the copy be embellished at
the expence of resemblance and truth)—At sight only of these two
heads, my heart, all on fire, says to itself, and would wish to say to all
my contemporaries, ‘ These are w^e/^, and we too, as they, are
‘ men.’ On hearing any thing praise-worthy, on the recital of a
great action, my heart, divided between anguish and delight, between
depi’ession and hope, cries out, ‘ This is in human nature; and I also
‘ am a man : and the germ of the virtues which distinguish the best
‘ of men is to be found likewise in me.’ I refer these principles to
the exterior form. Our bodies are equally susceptible of perfection ;
and this perfection tends to the glory of Him who created the
whole human I'ace; it is well pleasing to Him who loves to con¬
template the work of his hands : it fills with delight those of his crea¬
tures who are able to trace in the beauty of man the reflection of
the Divinity. In a word, the perfection of our bodies diffuses joy
through heaven and earth: it announces the glory of God, who has
manifested himself in man, and in his form. ,
This perfection, so pleasing to God, and so interesting to ourselves,
is perhaps of less difficult attainment than is imagined. Children of
the Father of Lights^ endowed with a soul which is an emanation from the
divine essence, dare we despair of success? And, even admitting that
this enterprise should appear to exceed our strength, have we not
every thing to hope for from Him who created man, and formed
him
388 FRAGMENT SIXTEENTH.
him after his own image? Ah, when my soul, disengaged from this
gross covering, shall have attained the knowledge which it pursues
here below, groping in the dark, what an age will it be which shall
present to its purified organs of vision a generation all simplicity, har¬
mony and energy ? Is there at this day any one of my Readers so far
superior to prejudice as to perceive and to love, in our form thus
perfected, the highest degree of grandeur and dignity of which hu¬
man nature is susceptible? are there any who feel themselves encou¬
raged henceforth to press forward to this glorious mark, and to glorify
God in their body?
I am abundantly sensible that these ideas will not be relished by the
Critic, all whose skill is employed in sifting words ami phrases j nor
by the Wit, who prefers a lively sally to the interest of humanity ;
but the time will come when they must be constrained to abjure
their error, and pay homage to truth; transported themselves to the
abode of perfection and happiness, they will acknowledge that the
most beautiful master-piece of Art is nothing but horrour and de¬
formity in comparison with a body raised up again, and invested
with splendour and glory.
FRAGMENT SEVENTEENTH.
OP THE
STUDY OF PHYSIOGNOMY:
DEDICATED
To the Count Francis-Joseph de Thun, at Vienna.
Section First.
IN order that the science of Physiononiies may attain that degree of
perfection of which it is susceptible; it is necessary to know ‘ how it
‘ ought to be studied.’ Ignorance is no where, perhaps, so perni¬
cious as in Physiognomy: it is equally injurious to him who pro¬
nounces the decision, and to the object of it. A single false judge¬
ment is capable of producing the greatest mischief; what then must
an erroneous principle be, which may dictate a thousand false judge¬
ments? What shall we say of a whole system ill-understood, which
establishes false rules ? Being unwilling to throw out reflections at
random on a subject of such high importance, I have deferred the
consideration of it till now.
I hope my circumspection will meet with approbation. If it be
the duty of an Author to employ the most scrupulous exactness even
in the minutest observations which he lays before the Public, how
much more ought he to be upon his guard when he pretends to teach
the art itself of making these observations! Physiognomy is, perhaps,
VoE. II. 5 F of
-300
FRAGMENT SEVENTEENTH.
of all sciences, that which furnishes the most employment to the rea¬
soning faculty. Error here is so much the more to be dreaded that
it is more easily fallen into, and that the consequences are never in¬
different. It is impossible to warn the Physiouomist too frequently,
and too earnestly, of the paths which may mislead him. It is im¬
possible sufficiently to press upon him the importance of repeating
and varying his observations; but from the study in question all the
refinements of pretended genius ought to be excluded.
A Physionomist without a call, that is to say, v\’ho wants tact and
judgement, who has neither study nor logic, who does not take the
trouble to observe and to compare, who is not faithful to truth, who
does not lay to heart the interests of humanity ; a Physionomist who
is a wit, a wrangler, positive or superficial—what a dreadful plague to
society !—I say a Physionomist who wants judgement, and is not faith¬
ful to truth; and on this I must strongly insist. In effect, though the
physiognomical tact be the first and principal attribute of the Physio¬
nomist ; though it be his light and guide; and though without it rules
and precepts would be as useless as a telescope to a blind man, this
tact alone is far from being sufficient. The Physionomist must like¬
wise possess judgement: he ought to reflect, analyze, compare, and
connect his observations. The most transcendent physiognomical
genius w'ill be frequently in danger of deceiving himself, and of mis¬
leading those who implicitly confide in him: if he want sense, if he
be deficient as to rules, practice, design ; confused in his ideas, he
will be in no condition to communicate them to others. Before,
therefore, I would recommend or admit any person whatever to the
study of our science, I must jDreviously be assured that he possesses
tact and judgement; that he is acquainted with the art of design, or,
at least, that to a certain point he has the talent, and is in the practice
of drawing. He must have the physiognomical tact^ to perceive and
to catch the characters of Nature. He must have judgment^ to digest
into
OF THE STUDY OF PHYSIOGNOMY. 301
into proper order the observations which he has made, to generalize
them, and to indicate them by abstract signs. And, finally, he must
know something of design^ to represent the characters, and determine
them with exactness. Without these qualities it will be impossible
to make any progress in physiognomy. I frequently tremble at the
idea, hat persons destitute of capacity should rashly plunge into a
Science which it is so difficult to treat with jtrecision and method,
and thus contribute toward bringing it into discredit. Let not the
mischief which may result from their temerity be imputed to me ;
I do all I can to prevent it. Reader, unite your efforts to mine.
Let us repel, as much as in us lies, all those who, unworthy to
enter into the sanctuai-y of Physiognomy, presume nevertheless to
force their way into it. With a certain tact, with judgement, and a
turn for drawing, nothing is moi-e easy undoubtedly than to acquire
a superficial acquaintance with our science. I admit farther, that
every man has received a certain proportion of Physiognomical tact;
but it does not follow that he has much as is requisite, or that he
possesses at the same time sufficient judgement and capacity to make
observations, and to express them with exactness; or, in other
words, to make a particular study of Physiognomy.
I shall not here repeat what was said in the first volume, of the cha¬
racter of the Physionomist, and of the difficulties which 'the science
he cultivates presents to him. I make haste to establish certain prin¬
ciples, which I consider indeed as still far from being sufficient, but
which, from experience, appear to me calculated to facilitate the study
of Physiognomy.
Young man, I would say to the person who asked my advice, if
you feel yourself called to this study; if you are differently affected
by different physionomies; if from the first moment you are power¬
fully attracted by some, and as powerfully repulsed by others; if
you take a lively interest in the knowledge of the human heartif
you
392 FRAGMENT SEVENTEENTH.
you are in the habit of thinking clearly and with precision—come
and engage in the arduous career.
I must first inform jmu in what the Study of Physiognomy consists.
It consists in the exercise of tact and judgement: in placing the ob¬
servations which you may have made, in their true light; in marking
down, in characterizing and representing, whatever you have per¬
ceived.
It consists in searching for, in fixing and classing the exterior signs
of the interior faculties: in discovering the causes of certain effects by
the features and movements of the Physionomy: in knowing ac¬
curately, and in being able to distinguish, the characters of under¬
standing and of sentiment which are suitable or repugnant to such a
form, or such features.
It consists in finding out general, apparent, and communicable
signs for the faculties of mind, or for internal faculties in general:
and then in making an easy and unerring application of these signs.
Tliis, would I say to my Pupil, this is your task. Do you find it
too hard for you?—Abandon at once a science for which you have
not the necessary qualifications ; for to pretend to acquire it at an
easier rate, is to attempt an impossibility.
As the Architect before he begins to build, draws a plan of the fa¬
bric which he means to rear, then calculates the expence which the
execution demands, and compares it with the funds allotted for that
purpose—the Plij^sionomist ought in like manner to consult his fa¬
culties and his zeal. He should thus reflect; ‘Have I courage and
‘ capacity equal to the happy accomplishment of the enterprise
‘ which I am now to undertake?’
If he is not discouraged by the appearance of difficulty; if he is
confident of success from a conviction of his own energy and strength ;
if his physionomy gives me assurance of this conviction; if I believe
especially that I read there the proof of his talents; I will cheerfully
continue
OF THE STUDY OF PHYSIOGNOMY. 393
continue to give him what inftruaion I can, and what follows is art
abHraft of my lefforts.
Firft, Examine carefully what is common to all the in¬
dividuals OF THE HUMAN SPECIES; WHAT UNIVERSALLY DIS¬
TINGUISHES THE organization of our body from every other
ORGANIZATION ANIMAL OR VEGETABLE. This difference being once
well eftabliflied, you will feel more forcibly from it the dignity of
our nature; you will ffudy it with greater refpeft, and with more
certainty lay hold of its charaaers.
After that, Study every part and every member of the hu¬
man BODY separately; the CONNECTIONS, RELATIONS, AND PRO¬
PORTIONS, WHICH THEY HAVE ONE TO ANOTHER. Coilfult with
refpea to this whatever Authors you pleafe, Albert Durer, or the
Encyclopedia; but put not too much confidence in books. See
with your own eyes, meafure for yourfelf. Begin with defigning
alone; afterward repeat your operations in prefence of an accurate
and intelligent obferver; let him examine and compare them under
your own infpeaion, and let him have them reviewed in your ab-
fence by an impartial judge.
In meafuring the relation of the parts of the body, obferve an ef-
fential diflinftion which has hitherto efcaped the greateff mailers,
though it be in fome fort the key of Phyfiognomy, and the negleft
of which has gi\'en occafion to a thoufand faults in defigning, to a
thoufand erroneous judgements on the umrks of God, which aie evet
regular, notwithftanding their apparent irregularities. Distinguish,
I fay, THE PROPORTIONS OF STRAIGHT LINES FROM THE PROPOR¬
TIONS OF CURVES. If the relations of the parts of the face and of
the members of the body correfpond to lines flraight or perpendi¬
cular, you may expefl; from them, in an eminent degree, a beautiful
countenance, a body finely formed, a judicious mind, a charatler
noble, firm, and energetic. A perfon however may be endowed with
VoL. II. 5 G all
394
FRAGMENT SEVENTEENTH.
all thde advantages when the parts of the body apparently deviate
from this fymmetry, provided it be found in well-preferved relations
of the curved lines. Only I mull remark that the proportions of
flraight lines are of themfelves more favourable, and lefs liable to be
impaired than the others.
When a general knowledge of the parts of the body, of their con¬
nections andielations is thus acquired; when you know them fuf-
liciently to perceive and to explain in a drawing the too much or
too little, the deviations, the tranlpolitions, the derangements;
when joil are perfedlly fure of your eye and of your difcernment,
then, and not till then, you may proceed to the study of particu¬
lar CHARACTERS.
Begin with faces whose form and character have some¬
thing VERY strongly MARKED; with perfons whofe charaaer pre-
fents you with what is pofitive and unequivocal. Take, for example,
either a very profound thinker—or a changeling born fuch ; a man of
feiifibility, delicate, eafily moved—or elfe a man obflinate, harlh, cold,
and infenfible.
This individual charaaer you muff ftudy firft, as if you had nothing
but it alone to ftudy. Obferve your fubjea in the wTole, and in the
feparate parts. Defcribe to yourfelf, in exprefs terms, its form and
features, juft as if you were going to diaate the portrait of it to a
Painter. If the thing is poflible, afk of the Original different fittings
for your defcription, as if you were preparing to copy it with your
pencil in your hand. Defign it thus in words after nature. Obferve
firft the ftature; then examine the proportions, that is, the apparent
proportions, fuch as they may be meafured by perpendicular and ho¬
rizontal lines; and finally determine fucceftively the forehead, the
nofe, the mouth, the chin, and in particular the eye, its form, its
colour, its fituation, its fize, its caidtv, &c.
When your defcription is finiflied, read it over attentively, and
confront it word for word with the original, Afte yourfelf pofitively:
Have
OF THE STUDY OF PHYSIOGNOMY. 395
Have I omitted nothing? have I added nothing? and are the features
which I have caught expreffed with fufficient truth and precifion ?
From this defcription you muft afterwards draw the portrait of the
perfon in his abfence. You muft have defcribed it ill, you muft
have obferved it ill, or at leaft you muft not have obferved it like a
Phyfionomift, if your ftcetch does not convey the principal cha¬
racter of the original. In order to facditate thefe means, and to en-
fure fuccefs, accuftom yourfelf to feize promptly, and to imprefs
poweifully on youi mind, the elTential traits of the phyfionomy which
you intend to ftudy. My method is this ; I firft examine the face in
front. The form is the firft objeft which fixes my attention : I con-
fider whether it be round, oval, fquare, triangular, or to vv'hich of
thefe principal figures it moft correfponds. I add them here to ex¬
plain my idea more clearly.
There are few faces which have not fome refemblance to one or
another of thefe figures, or which may not be eafily adjufted to
them. The form of the face being found, I confider that of the
piofile, and I refer it to the half of one of my four figures. After
that I fix the perpendicular length of the three ufual feaions, the
forehead, the nofe, and the chin. I obferve their perpendicular
differences and the relation of their fituation. The operation be¬
comes eaiy, if I draw a line in idea from the point of the root of the
nofe which retreats fartheft, to the moft prominent point of the
upper hp; by means of which I am able to comprehend thefe rela¬
tions under mree general claftes; one for perpendicular forms, one
for
396 FRAGMENT SEVENTEENTH.
for thofe which advance aloft, and a third for thofe which retreat
in the fame region of the face. Unlefs you adopt thefe points which
are fixed, and of eafy determination; unlefs you reprefent them to
yourfelf as the bafis of the phyfionomy, it is abfolutely impoffible to
reproduce from imagination the true form of the head with a phyfiog-
nomical accuracy. I would recommend likewife this method to
young portrait Painters; they muft of necefiity fubjea themfeh^es to
it if they mean to acquire the faculty of defigning the form of the
face accurately, and according to the rules of Phyfiognomy.
Thefe two points once imprinted in my memory, I run over fepa-
rately the forehead, the eye-brows, the fpace between the eves, the
tranfition from the forehead to the nofe, and the nofe itfelf. I pay
particular attention to the charaaeriftic angle which the tip of the
nofe forms with the upper lip, if it be a right angle, obtufe or acute,
and I fix in my memory which of the Tides is of greater length, the
higher or the lower. The mouth, viewed in profile, admits likewife
only three principal forms; for the upper lip muft either projea be¬
yond the under; or the two are placed in the fame perpendicular
line; or the under one muft advance. I obferve the fame diftinc-
tions’ for meafuring and clalfing the chin: it muft be perpendicular,
prominent, or retreating. The fpace below the chin will defcribe a
horizontal line ; or it will deviate from that direaion by rifing or
defcending. 1 dwell befides with great attention on the curve of
the jaw-bone, which is frequently a matter of the greateft fignifi-
cancy *. As to the eye, I meafure firft its diftance from the root of
* One who is not accntlomccl to toake obfervations will find it difficult to conceive, that, from the .nd,canon
of a fingle bone, a prompt and unerring judgement may be formed of the intcnral quaht.cs. I flrall remark on
the prefent occafion. and it were eafy to apply my tlrefis to all the bones of the human body, w.thout payrng any
regard to the Ikin and fidlr which cover them,-I (hall remark. I fay. that a Phyfionom.ft of aM.ty m.gh^ w.th
a Lrdage over his eves, and only by feeling the bone of the jaw. form a well-founded conjetore
charaaer which had till that moment eluded his moft attentive invefiigation. Frequently ,n ftudymg fuljet s
whofe extraordinary faculties I was acquainted with, this bone alone, .rr-w.rf m p.filc, has '
OF THE STUDY OF PHYSIOGNOMY,
397
the nofe; then I obferve its fize, its colour, and finally the contour
of the two eye-lids. Thus, in a very little time, I am enabled to ftudy
the face, and to get it by heart, if I may ufe the exprefiion, juft as if I
were committing to memory a piece of poetry. I firft throw my eye
along the whole; I run over the principal divifions; I fix in my
mind the order of the periods; then I repeat with the book fhut;
and when I feel myfelf at a lofs, I once more confult the text. Such
is the method you muft follow in order to retain accurately the fea¬
tures of a face. This is the only method of practice in the art ot
obferving, and of arriving at that fpecies of fuperiority which the
Science of Phyfionomies demands.
After having thus ftudied to the bottom a charatleriftic face, exa¬
mine for feveral days fucceftively all the faces you meet, and fee if
you can find one among them who prefents to you a striking re¬
semblance to the fubjefl; which you have been ftudying. In order
the better to difcover thefe relations, apply yourfelf, at firft, fingly to
the FOREHEAD. If there be a refemblance there, be affured of a re-
femblance likewife in the other features. The grand fecret in phy-
fiognomical refearches, is to fimplify, to abftracl and to feparate the
principal and fundamental features with which it is of importance to
be acquainted.
As foon as you have found a forehead, and, according to my prin.
ciples, a face which has a refemblance to your firft, apply yourfelt im¬
mediately to the ftudy of this new one; endeavour to accommodate
indications, more certain and more pofitive, than all the other features of tlie face. I would tliereforc advife
painters and defigners, to let the light fall upon their profiles in fuch a manner, that this part may acquire all
polTible relief. I have feen a number of portraits (and I mufl affirm it even of thofe, the originals of which I did
not know), in which it was firamefully negledfed. Young Artifts who are called by profeffion and from talle to
reprefent the moll beautiful mafier-piece of creation, the human face; whofe charge it is to preferve to us
the image of the objedfs of our tendereft affedlion—receive from a man, who has never been initiated into the
myfteries of your art, an advice which may ferve to promote the honour of the creature and of the Creator—Let
not the work of God be impaired or disfigured in your hands, through indolence, inattention^ or ignorance.
VoL. II. 5 H what
398 FRAGMENT SEVENTEENTH.
what is hill wanting in order to conftitute a perfeft analogy; get to
the bottom of the charadler of this fecond perfonage, and efpecially
the diftindfive mark which ftruck you in the firft. If the refemblance
of their features is well marked, clearly decided—it will coft you
little trouble, I am fure of it, to difcover the phyfiognomical fign of
their mental conformity. I will retradl what I have now advanced,
whenever you produce to me two individuals, who, with the fame
exterior refemblances, have not the faiue general call of charadler.
In this cafe—which it is not too eafy to forefee, or rather which will
never exift—In this cafe only will I admit that the phyfiognomical
relation of thefe perfons is not the dillindlive fign of the intelledlual
quality which renders them remarkable.
In order to be hill more affured of your fadl, watch the decisive
MOMENT WHEN THIS PREDOMINANT CHARACTER IS CALLED FORTH
IN FO ACTION. Obferve the line which then appears from the motion
ol the mufcles, and compare it in the two faces. If thefe lines are
Hill fimilar, the mental conformity can be no longer problematical.
If after this you difcover a feature altogether fingular in the phy-
lionomy of an extraordinary man, and that the fame feature re-ap-
pears a fecond time in the face of another diftinguiflred perfon,
without your being able to find it any where elfe—that fundamental
trait will become a pofitive fign of the characfer, and will lead you
to perceive in it an infinity of fhades which perhaps would have
efcaped you.
Let me illufirate this idea by an example: Baron Haller was un¬
doubtedly, in many refpefts, a moft extraordinary man. Among other
features which he had in common with a multitude of enlightened
O
geniufes, I found in his face, under the lower eye-lid, a particular
trait, a contour, a mufcle, which I have never yet obferved in any
one, of the fame form, and of the fame precifion. I am to this hour
ignorant of the fignification of this trait; but wherever I go I am
eagerly
OF THE STUDY OF PHYSIOGNOMY.
399
eagerly watching for the re-appearance of it. If ever I meet with it
in any individual, I will examine that individual clofely, and by
leading him to fubjefts within the range of Haller, I Ihall foon dif-
cover if he has the fame fpecies of genius which diftinguifhed that
illuftrious fcholar, or to what point he approaches it. I am well
affured, from uniform experience, that in difcovering two faces with
the fame trait, I fhall have invented a new letter of the phyfiogno-
mical alphabet. It is very polTible, at the fame time, that Haller may
have had fome weaknefs of which that trait was the diflinftive fiijn,
and confequently I may fooner or later perceive it in an ordinary
man, who without polfelTing any of the eminent qualities of Haller,
may refemble him only in his weak fide. The contrary however ap¬
pears more probable ; but, without taking a bias either way, I Ihall
fufpend my judgment till the fa£t determines it.
One of the firfl: diredlions I would give therefore, is. Begin
WITH THE MOST EXTRAORDINARY CHARACTERS. Study ill preference
EXTREME Characters, the nioft remote extremities of oppofite
charadters. 1 he traits of exceffive goodnefs on the one hand ; thofe
of atrocious malignity on the other—a Poet all fire and imagina¬
tion; or liftlefs apathy, which cannot be roufed—a changeling born;
or a man of great talents.
Vifit for this purpofe hofpitals for lunatics. Selefl; fubjefts com¬
pletely deranged; draw the form and features of their faces; lirfl;
the features which they all have in common; then thofe which dif-
tinguifh each in particular. The ftudy of the individual will con-
dufl; you to general rules, the application of which will become ex¬
tremely eafy. Draw, I fay, and describe exactly. Study every
part feparately; confider it afterwards in its connexion and rela.
tions. Afk yourfelf. Where is the feat, where are the charafteriflic
figns of madnefs? Detach every feature; diftinguilh thofe which are
pofitive;
400
FRAGMENT SEVENTEENTH.
pofitive; and re-eftablifh them in the mufcular fyftem, in order to
obferve their connexions and fhades. Tranfpprt yourfelf from
thence to the fociety of people of fenfe,*.who think and refleX with
judgment. There you will begin your operations anew, and follow
the fame method which I have juft laid down.
If you want time, opportunity, and readinefs, for embracing in your
plan all the parts of a face, attach yourfelf in preference to two elTen-
tial lines, which will indemnify you, in fome meafure, for the reft, and
which will give you the key of the whole charaXer of the phyftono-
m)', I mean the cleft of the mouth, and the line defcribed by the
upper eye-lid on the pupil of the eye. To underhand thefe tho¬
roughly, is to have an explanation of die whole face. I boldly
maintain that, with the aftiftance of thefe two lineaments, it is poftible,
nay eafy, to decypher the intelleXual and moral faculties of every in¬
dividual whatever. The thing is eafy—I do not fay to me, but to
the perfon who is able to bring to this ftudy more leifure and greater
talents than I poftefs. This at leaf! is certain, that all the faces whofe
charaXer. I pretend to know, I have ftudied from thefe two traits.
It is true, at the fame time, that our beft Painters have not paid fuffi-
cient attention to them. The whole merit of refemblance depends,
however, on thefe two lineaments, and almoft always the mannerift
is more apparent in them than in the others. From the manner,
therefore, in which the Painter gives thefe two traits, you will dif-
cover whether he is a phyfionomift or not.
But the lineaments in queftion are fo moveable, and their inflexions
fo delicate, that long and attentive praXice is requiflte to hit them
well. For this reafon I frequently fatisfy myfelf with obferving them
in profile, which brings them better out, efpecially the line of the eye.
If this expedient does not perfeXly fuffice, I add to it, as much as
poflTible, the tranfition from the forehead to the nofe, and that from
the
OF THE STUDY OF PHYSIOGNOMY.
401
the nofe to the mouth. Thefe two parts prefenting to me points
fixed and almoft invariable, I defign them exaftly in idea, in order
to reproduce them afterwards, in like manner, on paper.
Carefully examine and compare thefe features; taken two and two
you will fee that they have the moll perfeft relation between them-
felves, to fuch a degree, that the one is always fuppofed from, and is in
fome manner the confequence of, the other; and that it is not difficult
to indicate the fecond, as foon as the firft is exaftly determined. In or¬
der to acquire this habit, fo effentially necelfar)-, you ought to reltricl
yourfelf, for fome time, to dra\\- nothing whatever except the fame
contour of the upper e^ e-Iid, and the fame line ol tlie mouth. For
this purpofe make ufe of little cards, and always repeat the fame de-
lign twice upon each card; hence you will acquire greater facility in
tranfpofing, arranging, and claffing your lines. The other two features
of which we have fpoken will foon be found by means of filhouettes :
it will be necelfary therefore like^vife to detach them feparatel}', to
draw them on cards, and to trace in them, if it be pofTible, mathema¬
tical relations.
But, I would farther fay to mv difciple, thefe charafteriflic traits,
the certainty of which has been demonffrated to you by repeated ob-
fervation, are not the only traits which you muff ftudy, defcribe,
defign, detach, and compare. 'Fhe others ought to be contemplated
with the fame attention, nor is there a fmgle part of the face which
you are permitted to ox’erlook. Every one of them retraces the en¬
tire charabfer of man, juft as the leaft of the works of God prefcnts
to us the charafler of the Divinity. To undervalue a fingle part of
the face, is to undervalue the whole. He who formed the eye for
feeing, formed hkewife tlie ear for hearing—and his productions are
not pieces of patch-work. A truth which I cannot repeat frequently
enough, which I cannot imprefs with fufficient earneflnefs on the
heart of my Reader. Such an eye fuppofes fuch an ear, fuch a fore-
Vo l. II. 5 I head,
FRAGMENT SEVENTEENTH.
402
head, fuch hair of the beard. E\'ery particle preferves the nature
and charafler of the whole, and indicates to us the truth which the
combination renders palpable *. It is a concert in which all the
founds harmonize, in which every note ought to be obferved, in
which every femi-tone is calculated. It often happens that a paffage
in an Author, which at firll we had juft glanced over, enables us
afterwards to interpret the moft abftrufe parts of his works. In like
manner alfo an acceflory trait of the face, which we had confidered
as a matter of indilference, becomes the key of the whole phyfio-
nomy, and alftfts us in explaining the principal features.
'V’ou are unworthy of ftudying the face of man, and equally inca¬
pable of it, if vou defignedly negledl the fmalleft part.
But, I will fuppofe, that you feel perhaps you have a particular
tatl for fuch a feature, or fuch a part of the face. Certain traits,
like certain talents, fometimes affeft us in preference; and in this
cafe it is abundantly natural to follow our propenhty. Examine
carefulh’, in that cafe, what is the part which fuits you the moft;
ftudy it with fpccial attention, as if you had no one elfe to ftudy, as-
if the whole character were concentrated in that feature alone.
In order to be a Phyfionomift, you muft make Silhouettes a par¬
ticular ftudy. Without them, there is no Phyfiognomy. It is by
means of filhouettes that the Phyfionomift will exercife and perfedf
his taft. If he underftands this language, he will poftefs the know¬
ledge of the whole face of man: he will be able to read in it, as in
an opened book. Let us endeavour to point out to him, how this
may be done.
Firft of all he muft himfelf learn to make filhouettes. This ope¬
ration will habituate his eye to accuracy: it will accuftom him
Nulla enlrn corporis pars eft, quainlibct niinuta & cxilis, quantumvis abjetSta &c ignobilis, quse non aliquot!
argumenUim iniit^ nature, & quo animus inclinet, exhibeat. Lemnius.
There is no part of the body, however minute and ignoble, but what exhibits fome indication of the mental
faculties and difpofitlons.
promptly
403
OF THE STUDY OF PHYSIOGNOMY.
promptly to refolve every phyfionomy, and to find the charafteriftic
outlines of the face. But he muft particularly exert himfelf to give
thefe outlines in all their clearnefs and precifion. Among the in¬
finite number of filhouettes which have palled through my hands,
there are very few which I can call phyfionomical. As every thing
depends on the exterior line, as the fliade relieved on the paper is
almoll always weakened, and as it is fo difficult to reproduce it with
fufficient truth and correHnefs, 1 would recommend to the Phyfio-
nomift to make ufe of the folar microfcope, and fuggeft, that the
head which he means to delign fhould be brought as near to the wall
as poffible, but in an attitude perfeblly free and unconftrained.
For this purpofe he may employ a board Hoping at bottom, which
may lean on the fhoulder, and be fixed at the height of four feet four,
or five inches. The board muft be covered with a ftieet of paper per-
feftly fmooth and free from creafes, adapted to the Hope of the
wood, and faftened with wax. A method ftill more commodious
is that of the feat which 1 have defcribed page 179 . By means of
this apparatus the fhade comes to be reflefted on a poliffied glafs
which likewife Hopes below, and behind which an oiled paper is
fixed. The lilhouette is traced wuth a Heady and delicate hand;
and being detached from the frame, you go o\'er that feature which
in the firft perpendicular pofition could not be marked with fuffi¬
cient ftrength or boldnefs. Tiiis being done, you reduce the fil-
houette, taking particular care not to blunt either the points or
angles. You blacken one of thefe reduced copies, and keep another
white for meafuring the interior fpace.
After this fufpend the large filhouette perpendicularly, and de-
fign it by the hand, till you have caught the refemblance ot the re¬
duced profile.
The Student in Phyfiognomy ought not to fuffer a fingle oppor¬
tunity to efcape him of exercifing himfelf in .the art of obfert ing
and
404
FRAGMENT SEVENTEENTH.
and in that of defign. It is impofTible to imagine, and nothing
but experience can produce conviftion of it, how m\ich is to be
gained by defigning and comparing: We learn from them that the
flightefl deviation may change the whole exprelTion of the cha-
rafler.
Accuftom yourfelf to comment on every fdhouette, and mark down
in precife terms what you pofitively know of the character of the
original.
As foon as you have collefted a certain number of fdhouettes
exaftly defigned, and whofe chara6ler you are acquainted with, it
will be proper to fet about the claffing of them. But take care, in the
beginning, not to affociate fuch as Icem to announce the fame moral
or intelleftual charafter. For, in the firlt place, however exadl a
characteriflic defcription may be, it will ever be vague, unlefs de¬
duced from tlie rules of Phyfiognomy; and, in the fecond place,
tliere is an infinite number of intelleftual and moral qualities whicli
we comprehend under general denominations, whereas in effect they
differ prodigioull)', and confequently fuppofe alfo a marked dilTimi-
litude in the features. You mult not begin therefore with referring
filhouettes to the clafs of titles which might apply to their originals.
It would be an error, for inftance, to rank under the clafs of Genius,
the profiles of two men both of them acknowledged to be men of
genius, and to endea\ our to fettle the points of refemblance between
their filhouettes. It is polfible, on the contrary, that thefe may have
no manner of relation, or e\’en may be totally oppofite.
But how fliould filhouettes be clalfed?—After their refemblance;
and firfl, after the refemblance of the foreheads. Here are, would I
fay, two foreheads the relations of which are firiking; let us examine
likewife wherein their mental conformitv coniills.—This forehead
retreats and bends in fuch a manner; it may be comprehended under
fuch an angle.—This other nearly approaches the fame form; let us
enquire
OF THE STUDY OF PHYSIOGNOxMY.
405
enquire if the mental conformity is to be found in the fame relation?
—For the greater certainty, we mull meafure the large filhouette with
the tranfporter. Take as a bafis the relation of the height from the
fummit of the head to the line which hnifhes it, palling through the
root of the nofe and the eyebrows. Obfervers, ye to vv'hom the lludy
of man is a ferious objedt, it is thus you mull arrive at the end of your
refearches. You will find that conformity of contours fuppofes alfo
conformity of intelledlual faculties. You will find that, generally
fpeaking, the fame fpecies of forehead indicates alfo the fame
mode of feeing and feeling. You will find that, as every coun¬
try on the glebe has its latitude and a temperature analogous
to it, every face likewife and every forehead have their given
height, and modifications proportioned to it. Thefe obfervations
might eafily be fimplified by compofing a particular Alphabet
for filhouettes of foreheads; fo that at firft fight any forehead what¬
ever may be indicated by its letter, by the name of its clafs, by its
generic or fpecific name. I am adlually engaged in forming a table
of this kind which will comprehend all the forms of forehead real or
polfible, and which is to be inferted into my Treatife of phyfiono-
mical lines; but I would advife every Phyfionomifl to compofe one
for his own ufe. All thefe tables mull be in perfeft accord one with
another, fmee they are founded on mathematical figures which never
vary.
Examine alfo with particular attention what are the mod, and
what the leaft apparent charaHers of the filhouette. You will foon
be cont'inced that it expreffes much better a6live charatlers than
fuch as are purely fenfible and palfive.
Employ yourfelf likewife in defigning profiles in form of fil-
houettes by the hand, and after nature. Add to them the eye, the
mouth, and the features, from memory. Transform the profile into
a front view, and bring this back again to a profile.
VOL. II. rr K
0
Cut
4o6 fragment seventeenth.
Cut profiles from fancy, and endeavour to abftrafl; from them the
lines and features whofe fignification is pofitive. Simplify each of
thefe features as much as polfible : draw them exaftly and feparately
on cards—and you will, without much trouble, acquire the faculty
of arranging, of compounding, and decompounding them. This
method will procure for you aftonifhing facility toward making ob^
fervations the moft difficult and complicated.
To fimplify every feature; to acquire eafe and readinefs in tranf-
pofing, bringing together and comparing the features thus detached
—is one of the great means which the Phyfionomifl ought to
employ.
In my opinion the bafis of the forehead contains the fum of all
the contours of the fcull, and that of all the rays which diverge
from the fummit of the head.
I prefumed from reafoning, and experience has fince confirmed
the truth of it, that, in every well conftituted man, this fundamental
line exprelTes the whole meafure of his capacity and perfetlibility.
An experienced Phyfionomifl; would diftinguifh by thefe contours
alone, the difference of charafters in a crowd collefted under his
windows.
In order to catch exaHly this fundamental trait, it is neceffary
frequently to draw the fame forehead in profile and in front; to
draw it after the flrade and to meafure it.
1 admit that it is difficult to perceive, at the firfl glance, in the
forehead viewed in profile or in front, the whole fundamental con¬
tour of the fcull; it is poffible, however, by dint of unremitting
application, to acquire this habit. In a convent, for example, when
the flraven-crowned Monks Hoop to pray, or when they officiate in
the choir, one might make very interefting obfervations on the diffe¬
rence of thefe lines, and on their expreflion.
Nothing is more difficult than to obferve men well, in the ordinaiy
commerce
OF THE STUDY OF PHYSIOGNOMY.
407
commerce of life, and while they are awake. With a thoufand
opportunities of feeing them, you can rarely find a fingle one when
you may, without indifcretion, fludy them at your eafe. The Phy-
fionomift ought therefore to endeavour likewife to observe persons
ASLEEP. He mull draw them in this ftate; he mull copy in detail
the features and the contours: he mull efpecially preferve the atti¬
tudes, were it only by general lines: he muft feize the relations
which are perceptible between the body, the fkin, the arms, and the
legs. Thefe attitudes and relations have an inexprelfible fignifica-
tion, and particularly in children. The form of the face is likewife
analogous to it, and this accord is fenfible. Every face anfwers in¬
dividually to the attitude of the body and of the arms.
The Dead furnifh a new fubjecl for lludy. Their features ac¬
quire a precifion and an exprelfion which they had not when either
awake or afleep. Death puts an end to the agitations to which the
body is a perpetual prey, fo long as it is united to the foul. It flops
and fixes what was before vague and undecided. Every thing rifes
or finks to its level; all the features return to their true relation,
provided they have not been dillorted by difeafes too violent, or by
extraordinary accidents.
But what I would recommend to the Phyfionomill in preference
to all, is the fludy of figures in plaster. Nothing is more proper
for obfervation than a molded figure. You may fludy it at all times,
in every way, and with all the calmnels of refleftion. You can
place it in different lights, take a filhouette of it, and meafure it on
all fides. You can cut it in what manner you pleafe, defign every part
exadlly, and fix the contours of it with a certainty almoll mathema¬
tical. Thefe experiments will bring back and attach the Phyfiono-
mifl to what is real, to the immutable truths of the phyfionomy, that
is, to the fludy of the folid parts, which will always be the grand
end of all his refearches. He who neglefls this bafis of our fcience,
in
4o8 fragment seventeenth.
in order to apply himfelf to mufcular motion only, refembles thofe
Theologians who extradl from the Gofpel certain precepts of mo¬
rality, without difcovering Jefus Chrlft in it. Compare the bull of
a man of genius with that of a changeling born fo, analyze the one
and the other, defign and meafure them in whole and in detail,—
and your faith in Ph) fiognomy will come near to the certainty you
have of your own exiflence, and you will learn to know men as
well as you know yourfelf.
When once w'e flrall be In polfelTion of an exaft frontomctcr —and
I hope we fliall foon have that inllrument in all its perfeclion—
when the (Indent of Phyfiognojny flrall have acquired the ufe of it
to fuch a degree as to be able, by fight merely and without meafur-
ing, to determine with a certain precifion the capacity and charatler
of every forehead, and to indicate the curves and angles of it; when
he (ball be able to diflinguiflr after the fundamental lines and the
profiles of this part of the face, a harfli from a foft charatler, a fpirit
lively and prompt, from one flow and fluggiflr—What aflonifhing
progrefs will he not make in the knowledge of man!
For this purpofe I would advife the Phyfionomift to procure a
colledlion of sculls of well-known perfons; to draw the filhouettes
of thefe fculls, which may all reft on the fame horizontal board;
and to look for the triangles under which they may be compre¬
hended. I fay he muft feletl well-known perfons: for he ought to
learn, before he pretends to teach. He ought to compare faff with
faft; the pofitive charatler of the exterior, with the pofitive cha¬
racter of the interior. Nor muft he, till he has found the relations
of the one to the other, venture to ftudy the unknown relations
of approximating charadters. Be in no hurry to give precepts:
unlefs they can (land the fevereft examination, they will expofe you
to flrame and contempt. If you have the reputation of being a Phy¬
fionomift, a thoufand indifereet queftions will be put to you, which
^■ou
OF THE STUDY OF PHYSIOGNOMY. 409
you will be called upon to anfwer without premeditation. Thefe
queftions are undoubtedly ridiculous; but would it not be a ftill
more ridiculous vanity to pretend to folve them? You muft have
before you can give. It is for this reafon I fay to every Beginner:
Obferve in lilence, and do not communicate your conclufions to any
but a fmall feledfion of friends. Give no anfwer to any of the curious
queftioners, who are not fo much enquiring after truth, as they are
aiming to draw you into a fnare. If your only objedl is to fhine, by
means of your knowledge; if this is the only motive by which you
are animated—you will never make any confiderable progrefs in this
Science. Do you believe you have made a difeovery of importance?
Before you bring it to light, be at pains to afeertain it; verify it
by exadt and reiterated experiments; confult with an enlightened
Obferver—but difmifs the idly inquifitive, and increafe not your own
embarraffment by precipitate decifions.
A Collection of impressions of ancient and modern me¬
dals IN PARGET, is another elTential, and almoft indifpenfable, re-
fource for the Phyfionomift. Prohles of this kind reduced, fur-
nifh much affiftance toward clalTification and tranfpofition. We can¬
not greatly depend, I confefs, on medals, for the expreffion of
features; but the principal forms of the profile are fo much the more
true. And, were we even to refufe them all kind of authenticity,
they would not the lefs be of ufe toward exercifing the phyliogno-
mical tafl, and the clalTing of faces.
The Phyfionomift cannot ftudy language fufficiently.
Moll of our errors have their fource in the imperfeftion of lan¬
guage, in the want of figns perfectly charafleriftic and adapted to the
fubjedl. A truth which has all the fimpUcity and all the clearnefs of which
it is fufceptible', a truth conveyed with all the features which are proper to
ity and exprejfed with fuitable precifion\ Juch truth cannot be mifimder-
fiood by any one. The knowledge of languages muft therefore be one of
VoL. II. 5 L the
410
FRAGMENT SEVENTEENTH.
the principal objects of your application. Study your mother tongue;
fludy foreign languages, efpecially the French, which is fo rich in
phyfiognomical and charadleriflic expreffions. In the courfe of
reading, in converfation, you mull be fure to lay hold of every figni-
ficant word, and put it down in a vocabulary. You will thus eftablifh
different claffes, a different fpecies for love, {ox judgment, for fpirit, &c.
The Pupil of Phyfiognomy has occafion for a regifter, as com¬
plete as poffible, of all charadleriftic faces. He mult compofe it
himfelf from the writings of thofe Authors who have moft fucceff-
fully ftudied human nature, and from his own genius. I have my-
felf already collected more than four hundred names of faces of
every kind, and this vocabulary is far from being fufficient for me.
Look then for a characSIerihic general name for every face which
you wifli to obferve; but be in no hafte to fix its denomination.
Confider in how many ways this may be modified; purfue it through
all its diftincTons; and, before you proceed to the application of it,
examine ^\■ell whether you may not have confounded fomething.
Then, and not till then, you may draw the foim of the face, and give
the charafterifiic defcription of it.
Let me prefent you with fome of the general claffes of my re¬
gifter: ftate of body, fate of mind-, moral cliaraEier-, immoral affections-,
energy, fpirit-, judgment-, tafte-, religion-, imperfedlions-, natmial pliyjio-
mmies ; phyfiono?nies of perfons of quality ; pliyfi07i07nies of people m place-,
phyfiono?nies of tradejhien-, &c.
The word fpiritf for example, admits, in its turn, of the follow¬
ing fubdivilions: a correEl J'pirit (perhaps a found underftanding); a
colleBed
* Tlic Author could hardly have felcfted a term of more vague and various import, to illuftrate his idea, than
:hc French word Efprit, in EngliHi Spirit, Lexicographers in both languages have enumerated from eighteen
To twenty-four different acceptations of it, and thefe by no means literally and exactly convertible from tlie one
language into the other. The Tranflator, therefore, feels himfelf under the neceflity of tranfcribing the vvliole
pa2age
OF THE STUDY OF PHYSIOGNOMY. 411
colleBed fpirit (prefence of mind, or a ready wit;) a flaJJiy fpirit-, ahufe
of fpirit (perverfion of mental pov.'ers;) a fovenly fpirit, an acute,
affeEted, lively, brilliant, vain, ferious, dry, cold, rude, popular, cenforious,
prompt, pleafant, jovial, fprightly, jocofe, gay, trifling, comical, burlefque,
mifcliievous, fleering, ironical, farcaflic. See. fpirit (humour, difpofition,
turn of mind.)
After you have ftudied the charadfer of a face in a pi6lure or draw¬
ing, and have aflfigned to it a correfponding charafteriftic name,
copy exaflly the contour of the head, were it but by fome light
ftrokes, or even by points. I always love to fimplify operations.
The form of the face in general; the ixlation of the conftituent
parts; their inflexion or fituation—thefe three objeefts merit a par¬
ticular attention, and may be indicated by lines the molt fimple, as
I fhall demonfliate in my Treatife on phyfiognomical lines.
If you feel yourfelf at a lofs to unfold all at once the pofitive
charafter, endeavour to difeover it by the negative—in other words,
recapitulate all the names which it feems to exclude: run over your
vocabulary from end to end; and as foon as you perceive approxi¬
mations, flop there, and the comparifon of thefe will help you to
the true name. If a tolerably complete regifler does not furnifh a
fingle denomination which you can apply to your fubjeft, the face
rvill be fo much the more remarkable, and you will ftudy it in all
its fituations, in all its turnings and windings, till you have got to
jjalTage vcrhatim^ from the French Edition, in a fub-note (aj. This will enable the Proficient in lliat language
to judge for himfelf of Mr. Lavater’s meaning; and will ferve at the fame time, to convince him hovv
difRcult it is, not to fay imi-oflible, for a tranflator to render, with Jpi' it, in his own language, every idea of a man
of genius, on a new, abftrafe, and fcientific fubjedl, and conveyed tlirough the medium of a foreign dialedf. He
has endeavoured to do his duty to the Englifli Reader to the belt of his ability; lie regrets that it is impoflible for
him to add, entirely to his own fatisfadlion,
(aj Efprh jujie -, efprit prefent ■, efprit de falllie ■, ahus de I'efpr'if, cjprit maujjadc, fin, dmuereux, vif, hrlllant,
vain, ferieux, fee, froid, ^rofier, populaire, criiljue, prompt, plaifant, jovial, enjoue, badin, gai, foldtre, comique,
hurlcfque^ malln^ moqueur^ ironique^ mordant^ fs’e*
the
412
FRAGMENT SEVENTEENTH.
the bottom of if. The more enigmatical a phyfionomy is, the
greater difcoveries you will make in the decyphering of it.
Study, I proceed to fay to my Difciple, Portraits and History
Pictures, by the belt Painters and Defigners. Among Portrait-
Painters, Mignard, Largilliere, Rigaud, Kneller, Reynolds, and Van Dyk,
in my opinion, hold the firfl; rank. I prefer, however, the portraits
of Mignai'd and Rigaud, painted by themfelves, to all Van Dyk’s
pieces: thefe frequently want illufion and exadlnefs, becaufe Van
Dyk paid more attention to the general combination and fpirit of the
phyfionomy than to the details. This, unfortunately, is a cenfure
which muft be fixed, with ftill greater juftice, on an infinite number
of Flemifh, Englifli, and Italian Mailers. I except Giboon, Vander
Banck, Mans, Poel, and fome others, whofe names I do not at this
moment recolledt. Under the fpecious pretext of fhunning the im¬
putation of being fervile copyills, fome, with an unpardonable care-
lelfnefs, negledt the mofl delicate details; they aim at producing great
effedl, and attempt to impofe upon talle by giving nature in wholefale.
This is not what the Phyfionomift wants, nor is it thus that Nature
prefents herfelf. To exhibit only her ftriking parts, is not to imitate
her: it is to acknowledge that you are not acquainted with her, that
you have lludied her amifs.
The bell Pieces of Kupetzky, of Kilian, of Lucas Kranach, and
efpecially of Holbein, are an admirably infirudlive fchool for the Phy-
fionomill. Refufe them fometimes, if you pleafe, talle and a bold
touch; I always prefer the true to the beautiful. An Author who
deals in truth is much more pleafing to me than one who lludies
elegance; and, without being fond of too laborious exadlnefs, I will
however maintain that an Erafmus of Holbein'* is preferable to all the
portraits of Van Dyk both for truth and nature. To defpife detail, is to
A print of this fubje6l is given in VoU III,
defpife
OF THE STUDY OF PHYSIOGNOMY. 413
despise Nature. Where are details treated with so much richness and
ease as in her works?
The heads of Denner would be invaluable for tbe study of the
physionomy, if his microscopic details corresponded better to the spirit
of the whole.
Soutmann.^ who has given us some good heads, is not however the
person whom I would propose for a model. I set a higher value on the
precision and vigour of Blyhof; hut the Connoisseur, the real Painter,
the Physionomist will prize above all the portraits of Morin.
I have seen very few heads of Rembrandt of which the Physiono¬
mist could avail himself.
With better health, with more information and practice, CoUa
would have perhaps become one of the first Portrait-Painters. His
heads are almost as many particular subjects of study.
Among the Painters and Designers who have gone into the walk of
History there are very few Physionomists; almost all of them liave
confined themselves to the expression of the language of the passions,
and have gone no faither. Till one more perfect is produced, I
subjoin a catalogue of some who have excelled in their art, and
whose works merit, on every account, a particular attention; although,
every thing considered, the poorest performance of a middling
Painter is not to he despised in our Science.
The Physionomist will study in Titian the dignity of style, the na¬
tural and sublime of expression, voluptuous faces. I have seen at
Dti'seldorp a portrait by this Painter, which is an almost incomjja-
rahle master-piece of nature and expression.
Michael Angelo furnishes us with characters energetic, haughty, dis-
dainl'nl, serious, obstinate, invincible.
We admire in the heads of Guido the touching expression of a love
calm, pure, celestial.
The works of Rubens present the lineaments of fury, of force,
VoL. II. 5 M of
414
FRAGMENT SEVENTEENTH.
of drunkenness, of every vicious excess. It is to be regretted that he
did not paint a greater number of portraits. His Cardinal Ximenes, *
whicli is at Dusseldorp, is, in my opinion, far superior to the best of
Van Dyk.
Van der Werf must be our model for modest and suffering Physiono-
mies.
In Lairesse, in Poussin, and, above all, in Raphael, we must look
for simplicity of composition, depth of thought, the calmness of
dignity, an inimitable sublime. Raphael cannot be sufficiently studied ;
but it is only in the great style, to which bis figures, and the airs of
bis heads have always a reference.
You must not expect much of majesty from Hogarth. This Painter
rose not to the level of the really beautiful; I should be tempted to
call him \\\o. false Prophet of beauty. But what inexpressible richness in
the comic or moral scenes of life ! No one ever better characterized
mean physionomies, the debauched manners of the dregs of the people,
tlie excessive heightening of ridicule, the horrors of vice.
Gerard Douw has happily hit off low characters and those of
scoundrels, physionomies which express attention. I have seen at
Dusseldorp a mountebank of his surrounded by the populace: this
performance would be an excellent theory for physiognomical lines.
I would consult Wilkenboon for the expression of irony.
Spranger for the violent passions.
Callot had the talent of representing singularity, according to nature,
beo'srars, cheats, executioners. In this also A, Bath excelled.
I would make choice of Heyirij Goltius and Albert Durer for all sorts
of comical and low subjects, for clowns, valets, &c.
Martin de Vos, Lucas of Leyden, and Sebastian Brand were eminent in
the same style ; but you find in them likewise physionomies full of
dignity, and a sublime truly apostolic.
■* A copy of it will be given in the following Tolume.
Rembrandt,
OF THE STUDY OF PHYSIOGNOMY. 415
Rembrandt, among other merits, had that of happily delineating the
passions of the vnlgar.
Annihal Caracci was superiorly excellent in the comic walk, and in
every species of heightened singularity. He possessed particularly the
talent, so necessary to the Physionomist, of giving the character in a
few strokes.
Chodcnsoiecki is alone equal to a whole school. His infants, his
young damsels, his matrons, his lackeys, are admirable. In him
every vice has its characteristic traits, every passion the attitudes
and gestures which suit it. He has studied, as an Observer of singular
ability, all the ranks of society. The court and the city, the trades¬
man and the soldier, furnish him, by turns, with scenes endlessly
varied, expressed with all the truth of Nature.
Schellenberg is peculiarly happy in delineating provincial low
humour.
The bacchanalians of La Page deserve to he mentioned, as also
his gay and voluptuous physionomies.
Rugendas is the Painter of rage, of grief, of the great effects of
passion.
The chief excellency of Bloemart is his hitting off the attitudes which
mai'k dejection.
The heads of Schlutter, etched in aqua-fortis by Rode, characterize
wonderfully well the suffering of great souls.
The gigantic is the favourite walk of Fuseli. His genius delights
to employ itself on energetic characters: he delineates with bold
touches the effects of anger, terror, and fury: horrible scenes of every
kind.
In the pictures of Mengs, what taste, majesty, harmony, and tran¬
quillity!
Those of West bear the impress of a noble simplicity, of calmness
and innocence.
All
416
FRAGMENT SEVENTEENTH.
All the passions are found united in the eyes, the eyebrows, and
the months of Le Brim.
Such, in part, are the Masters whom the Physionomist ought to
study. He will select for himself, in every work of painting, the
features which are most clearly expressed, and mark them down in his
repertorv under their corresponding titles. If he pursues the method
which I have just now traced, I dare venture to assure him, that he
will soon come to see what no one perceives, though exposed to the
view of the whole world ; and that he will, in a very short time,
possess knowledge, which no one takes pains to acquire, though it
be in every one’s reach. Bnt on the other hand, most of the Paint¬
ers we have now quoted teach Pathognomy only. Very few of
them apply themselves to the solid form of the body; and those who
perhaps merit, in this respect, the name of Physionomists, are such, I
must be allowed to say, merely by chance, because they are every
moment deviating from the rule.
* * *
Section Second.
1 .
NATURE has modelled all men after one and the same fun¬
damental form. This is indeed infinitely varied ; hut she no more
departs from her parallelism and proportions than a pantograph or a
parallel rule. Every individual wdio deviates from the general pa¬
rallelism of the human figure, unless such deviation be the etfect of
unfortunate accidents, of w'hich he has become the sad victim, is a
monster in respect of conformation. On the contrary, the more
that the form corresponds to this pai'allelism, the more perfect it is.
I’his is an observation which every discijile of Physionomy ought to
repeat with me; and when he has ascertained the truth of it, let him
adopt it as a principle.
A Dis-
OF THE STUDY OF PHYSIOGNOMY. 417
A DISGUSTING OUTSIDE, llOWevei', DOES NOT ALWAYS EXCLUDE
great intellectual faculties. I admit it. Genius and virtue
lie sometimes concealed in an obscure hut; wliy may they not like¬
wise be clothed with an irregular form ? But, on the other hand, it
must be allowed, that you sometimes meet with foi'ms where genius
and dignity of sentiment could not possibly find entrance, just as
there are buildings too wretched to serve as a lodging place for hu¬
man beings. The Physionomist will therefore exert himsell to ac¬
quire the knowledge of the forms regularly beautiful, which apper¬
tain exclusively to great souls; of the irregular forms which still
preserve sufficient space to admit of talents and virtue; or which, by
narrowing that space on one side, do more concentrate perhaps the
energy of the natural dispositions.
2 .
When a principal feature in a face is significant, the
accessory trait will be so also. The last has its principle as
the first. Every thing has its cause, or nothing has.—If 3 mu are not
struck with the evidence of this axiom; if you still call for proof in
order to be convinced of the truth of it—abandon the study of the
physionomy.
3 .
The most beautiful of faces is susceptible of degrada¬
tion ; AND THERE IS NO ONE SO HOMELY AS TO BE INCAPABLE
OF embellishment; it being always understood, liowever, that in
these changes the form of the face, and the species of the physionomy,
ever preserve their primitive basis.
It is the business of the Physionomist to study the degrees of per¬
fectibility or of corruptibility of every form of fiice. Let him fre¬
quently combine the idea of a noble action with a forbidding coun-
VoL. H. 5 N tenance.
418
FRAGMENT SEVENTEENTH.
tenance, and, reciprocally, the idea of a mean action with a promising
physionomy.
4.
Positive characters of face always announce positive
FACULTIES. But the absence of these characters does not suppose the
absolute want of corresponding faculties.
5.
Study with particular attention the faces in which you find
A TOTAL WANT OF CORRESPONDENCE; tliose wliicli, in Order to sub¬
sist together, have need, in some sort, of the mediation of a third.
Two faces which present a perfect contrast, are an interesting spectacle
to the Physionomist.
6 .
Always give yourself up to first impressions, and trust
to them more than even to observations. Are your perceptions the
result of involuntary feeling, excited by a sudden emotion ?—Be
assured the source of it is pure, and that you may spare yourself the
trouble of having recourse to induction. Not, however, that I would
have you ever neglect the road of research. On the contrary, draw
the feature, the form, the look, which affected you at first; oppose to
them contrasts the most extreme; and ask of one or more persons
capable of feeling and of forming a sound judgement. What are the
different qualities which these two faces express? If all suffrages
unite, follow as inspiration that first impression which you re¬
ceived.
7.
Of all the observations which you have OCCASION TO
MAKE, NEGLECT NO ONE WHATEVER, IIOAVEVER FORTUITOUS, HOW¬
EVER
OF THE STUDY OF PHYSIOGNOMY. 419
EVER INDIFFERENT IT MAY APPEAR. Collect them all with equal
care, even though you at first put no manner of value on them. You
will sooner or later however derive advantage from them.
8 .
Remark the difference of stature; the tall, the middle, the
short, the deformed. Examine what is common to each. They
have proper characters which belong to all the individuals of the
class which they compose, and which re-appear in the whole of the
physionomy as in the features separately.
9.
Attend likewise to the voice, as the Italians do in their pass¬
ports and descriptions of advertised persons. Observe whether it
be high or low, strong or weak, clear or dull, soft or harsh, natural
or feigned. Consider what voices and foreheads are most frequently
associated. If you have any delicacy of ear, be assured that the
sound of the voice will soon furnish you with infallible indications
by wbicb you may distinguish the class of the forehead, of the tem¬
perament, and of the character.
10 .
Every physionomy has its character. I have already spoken more
than once of the general traits wdiich are characteristic for all faces
without exception; but, independently of these, there are besides
PARTICULAR FEATURES, the precisioii and significancy of which can¬
not escape the glance of the Pbysionomist. All thinkers, for ex¬
ample, have not forms of face vvhicli announce in a striking manner
seriousness of reflection; the wrinkles of the forehead alone are often
sufficient to express this characrer. It is thus too that, the character
of goodness is sometimes manifested in the appearance, the form, the
arrangement,
420
FRAGMENT SEVENTEENTH.
arrangement, and colour of the teeth; that of discontent in the
triangular lineaments or in the cavities of the cheek, &c.
11 .
Distinguish CAREFULLY what is natural, whatis accidental,
WHAT IS PRODUCED BY VIOLENT CAUSES. Whatever is natural, is con¬
tinuous; and this continuity is the seal which Nature impresses on
all forms which are not monstrous; accidents alone are capable of
interrupting the general order. Much has been said of these
ACCIDENTS, as being so many insurmountable obstacles opposed to
the seientific study of the physionomy,—and yet they are so easily
distinguishable. Is it possible to be mistaken, for instance, in the
deformities occasioned b}' the small-pox, in the marks left from a
fall, a blow, or any other violent cause? I have known, it is true,
some persons who in their youth had been reduced to imbecility by
falls, without their preserving visible marks of these accidents. But
the imbecility sliewed itself sufficiently in tbe features of tbe face,
and partly likewise in the solid form of the head; the extension of
the occiput seemed to have been stopped by the effect of the fall.
In these kinds of doubtful cases it is the duty ot the Physionomist
to satisfy himself respecting the physical constitution and education
of the iiersons whom he means to observe.
12 .
1 do not insist tiiat the Physionomist ought always to judge fi¬
nally ON ONE ONLY SIGN; I Only say that he can in certain cases.
And though, according to Aristotle,
’jEw rae arinciac *.
It is not the less true, however, that certain particular traits are ah-
* To trust oue sign only is a mark of weakness.
solutely
OF THE STUDY OF PHYSIOGNOMY. 421
sokitely decisive, and perfectly suffice for characterizing such and
such dispositions and passions of the individual. Frequently tiie
forehead, the nose, the lips, the eyes, announce, exclusively, energy
or weakness, vivacity or coolness, penetration or stupidity, love
or hatred ; it being always nnderstootl, however, that these distinc¬
tive features suppose the co-existence of other parts more or less
analogous. I must always recommend, nevertheless, the study of
the accessory traits, and of the most minute details of tlie physio-
nomy. I will always say, and it is a jirinciple on which I cannot
insist too earnestly: you mist combine; you must compare details xmth
details; you must view Nature in her complete assemblage. Observe with
equal care the form, the colour, the flesh, the bones, and the mus¬
cles: the pliancy or the stiffness of the limbs, the movements, the
attitude, the gait, and the voice; the expressions, the actions, and
the passions; smiles and tears; good humour and bad ; impetuosity
and calmness. Neglect no detail whatever., but combine all into one whole.
Learn, above all things, to distinguish what is natural from what is fac¬
titious, the real from the assumed character. You will find, that, what¬
ever is assumed or factitious supposes, in its turn, a previous disposition to
receive these adventitious qualities ; that accordingly it is possible to fore¬
see and to predict what a physionomy is capable of adopting or not.
Such a fice was not formed for assuming gentleness; that other is in¬
capable of putting on an air of assurance and anger.
But, it will be alleged, the calmest man may sometimes abandon
himself to passion, and the most violent spirit has its moments ot
composure; of consequence the same physionomy may express by
turns gentleness and violence.
I admit it; but there are faees to which gentleness is as natural or
as foreign, as violence is natural or foreign to others. It belongs to
the original form, to the primitive features studied in a state of rest,
it belongs, in a word, to the character of the mind to inform you
VoL. II. 5 O what
422
F R A G iVI E N T SEVENTEENTH.
what is congenial to such a physionomy, and what is not, what it
admits oi' what it rejects. In tracing upward these sources of in¬
struction, you will often discover the most beautiful harmony where
others perceive only incoherence and irregularity.
By degrees you will acquire the faculty of inferring one part from
another. The knowledge of one or of two details will conduct you
to a third and so on to all the rest. You will be able to determine
from the sound of the voice, the form of the mouth ; and this again
will give you a presentiment of the words which it is about to pro¬
nounce; you will learn to judge of the style by the form of the
forehead; and reciprocal!}^ of the forehead, by the style.—You will
not know beforehand all that a man means to say, write, or do, in
general; but yon will he able to foresee of what he is capable or in¬
capable, how he will act or express himself in such and such given
circumstances.
13.
There are decisive moments for studying the physionomy, which
it is of essential importance to observe. Such is that of an unex¬
pected rencounter, or the first approach only; the instant when a
person presents himself in company, or when he takes leave of it.
Such is, again, in a more particular manner, the moment when a
violent passion is on the point of breaking out, and the moment which
follows the first explosion. Such is, above all, the moment when
the passion is suddenly repressed by the presence of a respectable
jiersonage. It is in this last situation that you discover by the same
glance, both the power of dissimulation, and the still subsisting traces
of passion.
An emotion of tenderness or pity, of sorrow or anger, of zeal
or envy, is frequently sufficient to enable you to form a judgement of
a man’s character. Place m opposition the most perfect tranquillity
and the most violent transport; on one hand, the moment when a
man
OF THE STUDY OF PHYSIOGNOMY. 423
man is himself, and on the other, that in which he flies off from
his natural bent: compare these two states, and you will see what
every individual is; what it is possible for him to become, or what
he never can be.
14.
Study THE SUPERIORITY WHICH CERTAIN PHYSIONOMIES HAVE
OVER OTHERS. The coinmoii Father of the human race has, no doubt,
created all men of one and the same blood ; but equality of condition is
not the less, on that account, a chimera. Every one has his place and
his rank, and this very diversity is part of the plan of Providence.
Every body, animated or inanimate, has millions of beings subordi¬
nate to it, and it again is subjected to innumerable other beings which
press upon it. Man is king and subject by turns; this is the law of
his nature. Endeavour then to find out in every organized body,
the superiority and the inferiority which belong to its species, which
are inseiiarable from it, and cannot be taken away by the conventions
of society. Fix exactly the boundaries which are contiguous to each
other. Compare always the strong with the weak ; characters firm
and energetic, with characters soft and flexible. Extremes being
once settled you will easily discover intermediate relations. You
vv'ill be able to determine, according to geometrical rules, the rela¬
tions which are to be found between the forehead of a man formed
for commanding, and the forehead of one formed for obeying; be¬
tween the nose of the monarch and the nose of the slave.
15.
In the study of Physiognomy lay it down as a rule, to look for
conformity of characters in conformity of faces—and the resem¬
blance of faces, 01 ’, at least, that of their form, in the analogy of
foreheads. Always then bring together, as close as possible, cha¬
racters.
424
FRAGMENT SEVENTEENTH.
racters, sculls, forms of face, foreheads, and features which have a
resemblance. Arrange, observe, and compare.
10 .
If you are so fortunate as to fall in with a man who has the faculty,
so rarely bestowed, of interesting himself without affectation in
what is proposed to him ; a man who acts in every thing with a re¬
flective attention, who never gives an answer till he has heard you
out who is always prepared to decide, without ever assuming a
decisive tone—do not fail to study his face, both in whole anti in
the most minute details. The degree of attention determines the de¬
gree of judgment; the degree of goodness of heart, the degi’ee of
energy. He who is mcapable of listening attentively^ is likewise incapable
of every thing that deserves the name of wisdom and virtue. The man who
can listen with attention will succeed in all that is within the reach of the
human mind. A single face in which attention is painted, will furnish
you with indications which may enable you to decypher the most
estimable qualities in other individuals.
Take it for granted, that a man who discovers exactness in the
indifferent actions of life, that a man whom you observe to fix a
calm and attentive look on every object which engages him, is an
admirable subject of study. His mien, his movements, his gestures,
will bear the impression of his character. I risk nothing in advancing,
that he who is careful and circumspect in little things will be equally
so in great.
17 .
Here are some traits, the union of which infallibly promises the
happiest physionomy, I may say, without reserve, a pliysiouomy
more than human. I suppose besides, that each of these traits is de¬
cidedly
OF THE STUDY OF PHYSIOGNOMY. 425
cidedly advantageous in itself, and that the whole together unite in a
just relation. There must be:
a. A striking conformity between the three principal parts of the
face, the forehead, the nose, and the chin.
h. A foi’ehead which rests on a base almost horizontal, with eye¬
brows almost straight, close, and boldly marked.
c. Eyes of a clear-blue or clear-brown, which appear black at a
little distance, and whose upper lid covers only a fourth or fifth part
of the ball.
d. A nose whose ridge is broad, and almost parallel on both sides,
with a slight inflection.
e. A mouth perfectly horizontal, but whose upper lip drops gently
in the middle. The under lip ought not to be plumper than the
upper.
f. A chin round and prominent.
g. Short hair, of a deep-brown, parting into large bushy curls.
18 .
In order to study a face well, you must observe it in profile, in
front, in the attitude of three-quarters, of seven-eights, and from top
to bottom. Make the object you are studying shut his eyes for some
time; let him then open them. The face, viewed in front, presents
too many things at once, and the attention is of consequence distract¬
ed; it is for this reason I advise you to examine it on different sides
successively.
19 .
I have said already, oftener than once, that knowledge of design
is absolutely necessary to the Physionomist. In order to acquire the
requisite degree of practice in this art, he ought to confine himself
entirely to contours, whether he copy after Nature, whether he draw
VoL. II. 5 P after
426
FRAGMENT SEVENTEENTH.
after busts, pictures, engravings, or any other model whatever. He
must he able to distinguish, resolve, simplify, and explain what is
com|dex, confused, or vague. All Painters who are not Physionomists,
and who are indifferently skilled in design, cry down this method; it
is, nevertheless, the only one which unites the advantages of readiness,
of precision, and exactness; of this I shall produce no other proof
than the celebrated passions of Le Brun.
20 .
Nothing is more projter for exercising the Physionomist than the
study of paintings in oil; but he ought to have master-pieces, and they
are so rare, and so expensive, that a very small collection amounts to
an enormous sum. Models the least proper for him, are drawings in
black-lead. I would advise him as much against them as against
miniatures. Both the one and the other lead to that free manner
which would pass iovpicturesque^ but is only vague, and for that very
reason contrary to nature and truth. In order truly to express the
chai'acter of the physionomy, in order to preserve all the precision
and all the delicacy of it, make use, iu preference, of black-lead
strengthened by a few touches of China ink. But observe, at the
same time, that drawings of this sort ought to be executed in a
dark apaitment which admits the light by a round opening of a foot
diametei’; you must contrive to let it fall from the height of three
or four feet above the head you are going to design, and the attitude
of this last must a])proach the profile. Of all the methods which I
have ti'ied, I have found none more easy, nor whose efifect was gene¬
rally more agreeable and more characteristic. I believe, howev^er,
that certain physionomies might be designed, with equal success, by a
light falling down in a perpendicular direction; but this would answer
at most with flat and delicate faces, for such as are strongly muscu-
lons
OF THE STUDY OF PHYSIOGNOMY. 427
lous would lose too much by the shades. In the other position,
just now described, you might employ likewise a camera ohscura
which should diminish the object three-fourths; this might serve,
not to execute the drawing, which would be impossible on account
of the vacillation, but to ascertain, by comparison, the exactness of
the copy.
21 .
It will be asked. Who are the Physiognomical Authors you
would recommend to 3 ^ 111 ’ pupil? The number of those who can
be mentioned with approbation is very small; a fortnight is sufficient
to run over all of them, and even their most sensible observations
have still need to be closely examined. When you have read two
or three of these performances, you know almost all of them. Porta,
and after him Peuschel and Pernetti, have collected all that is of any
importance in the writings of the ancients on this subject. In the
first, the good, bad, and indiiferent, are found jumbled together: his
book swarms with contradictions. He strings together, without order
or method, the opinions of Aristotle, Pliny, Sueton, Polemon, Adaman-
tin, Galen, Trogus-Conciliator, Albert, Scotus, Maletius, Avizenna, and
many more. He sometimes subjoins his own reflections, which he
illustrates by the physionomies of eminent men, and here chiefly he
is interesting. Though addicted to the reveries of judicial astrology,
he is, however, less so than his predecessoi's.
Peuschel, and still more Pemetti, have rendered essential service to
the science of Physiognomy, from having cleared it of a crowd of
absurdities, in which it was formerly involved; but their writings
present few ideas that can be called new, and they are very far from
having determined with precision the features of the face; a deter¬
mination which is nevertheless necessary, and without which Ph 3 ^siog-
nomy would be the most dangerous of all infant sciences.
Helvetius,
428
FRAGMENT SEVENTEENTH.
Helvetius, in liis Phjsiogmmia medicinalis^ has characterized the tein^
peranients in a very superior manner. If we except his fondness for
Astrology, he may rank with onr first Masters.
Yon ought to read Huart, notwitlistanding his ci udity of idea, and
excessive boldness of Inpothesis. This Anthor has supported his
own observations with excellent passages extracted from Aristotle^
Galen, and Hippocrates; hut has not greatly enriched us with new
discoveries.
We leai'ii very little from Philip May; but la Chnmbre is a judicious
writei’, who has succeeded, in a particular manner, in the characters
of the passions; he ought, however, to have illustrated his subjects
by contours and designs.
John de Hagen de Indagine will excite more sensation by his own
phj'sionomy, than by his work. This is scarcely any thing more tVian
a com|)ilation, hut v^■hich merits, however, some attention.
Marbitius is a most insufferable prattler. His discourse de varietate
faciei humance (on the variety of the human face), Dresden, 1676,
in quarto, does not contain six ideas which are his own. The most
absurd of them all, that of the transposition, and arrangement of the
])arts of the face, has been adopted after him by a writer of modern
times.
Parson whom the Count de Buffon ami Baron Haller have taken the
trouble to abridge, is, notwithstanding all his imperfections, a classic
author, as to the ))ai’t which treats of the moveableness of tbe phy-
sionomy, of the muscles of the face, and of the language of the
passions.
At the risk of giving offence, I will mention also the famous Jacob
Behmen, —an obscure mystic, but who had nevertheless observed
Nature; who knew her, and understood her language. This elo-
gium will be re|)robated by every Aristarchus in Literature; my
friends will say, I ought to have suppressed it as a Philosopher, or, at
least.
OF THE STUDY OF PFIYSIOGNOMY.
429
least, as a Theologian—but why should I be afraid of following my
conviction, and of paying homage to truth? Jctcoh \ lepeat
it, has left behind him proofs of a very uncommon physionomical dis¬
cernment. Not that I mean, however, to recommend all his writ¬
ings indiscriminately; but his piece on the four complexions is an inesti¬
mable treasure to every one who knows how to distinguish between
gold and dung,
William Gratarole, Physician at Bergamo, is another Physionomist
who deserves to be studied. I value his Work at once for the rich¬
ness of its matter, and the accuracy of its style. It is entitled: De
prcedictiane morum naturarumque hominum facili, cum ex inspectione vid-
tus, aliarumque corporis partium, turn aliis modis. (An easy mode ot
indicating the nature and morals of man, from inspecting the coun¬
tenance, and other parts of the body, and by other means.)
It only remains for me to name Scipio Claramontius, the best and
most solid of all the Physiognomical Authors of past ages. Witii
much erudition, he by no means fatigues his reader with quotation
on quotation: he sees and judges for himself: he goes into detail
without being diffuse. His book de conjectandis cujusque morihus <§•
latitantibus animi affectibus (on forming a judgment of man’s morals
and secret affections), if not worthy of a complete translation, at
least might furnish valuable extracts and commentaries. This work,
so valuable in many respects, is, at the same time, very imperfect
in others. A great many ancient errors are here repeated ; but, pro¬
vided you are ever so little in a condition to compare this Author
with his predecessors in the same career, you must applaud his dis¬
coveries, his new, and original ideas, and his judicious reflections.
Even at the moments when he gives me least satisfaction, I still find
a man who reflects. Though attached to the subtilties of the school,
he neither offends by excessive dryness nor over-refinement: his
thoughts and style are never destitute of dignity.
VoL. II. 5 Q Dignity!
430 FRAGMENT SEVENTEENTH.
Dignity! This, however, is wanting to most of the moderns who
have written in favour of, or against Physiognomy. For my part, I
can easily reconcile myself to an Author who treats his subject with
dignity, without affectation or presumption; and this is a praise we
must allow to Claramontius^ almost in every page of his book. He
is more than a scholar. His phsiognomical information is the result
of a profound investigation of the human heart and mind. He
understands how to make a hapjjy application of his general rules.
His extensive erudition, without being cumbersome, is of the
greatest service to him in his reasonings and observations. He fre¬
quently catches with much sagacity the characters of the passions,
and conveys them with equal acuteness. In a word, I can confi¬
dently recommend this Author to all who wish to study Man, and,
more particularly still, to such as make choice of the moral character
as the subjeet of their writings.
22 .
The Physionomist must, of necessity, procure a numerous col¬
lection of REMARKABLE PORTRAITS. I have Subjoined to this Frag¬
ment a list of some that are peculiarly interesting. I leave to
amateurs the labour of increasing this list at their pleasure •, for
I have confined myself entirely to portraits which I have seen,
and noted down for my own particular use. I can only mention
their names; but I pledge myself, that among these physionomies
there is not a single one that does not deserve to be studied and com¬
mented upon. Run over this collection several times, and if you
have any disposition at all to be a physionomist, it will exercise and
confirm 3 'our eye. If you wish after that to compare the features
of these illustrious personages with their characters, with the history
of their life, with their actions, and their works, every one of them,
I dare answer for it, will supply you with curious and important
dis-
OF THE STUDY OF PHYSIOGNOMY.
431
discoveries toward the cultivation of our science. It is to their por¬
traits, at least, that I am indebted for a very great number of my
observations : they will likewise enrich, in part, my Treatise on the
lines of thephysionomy^ and I shall then speak of them less or more
in detail.
23.
But the best and most improving of all schools, ever will be
THE SOCIETY OF PEOPLE OF WORTH, aud there the Physionornist
ought to finish his studies. How many perfections will he there dis¬
cover, if he search for them with the eyes of benevolence, with a
heart simple aud pure! Seek and ye shall find. You will often find
even there where you would not have thought of seeking. You
will trace in every form the image of the divinity —and this sublime
object will diffuse lustre over every other: it will open your eyes to
a multitude of wonders, which no one stops to contemplate, but
which every man is ready to acknowledge the moment they are
pointed out to him.
24.
I conclude with an exhortation, whieh I cannot, with sufficient
earnestness, repeat: pronounce few decisions, whatever impor¬
tunity maybe employed to induce you: calmly dismiss indiscreet
questioners who may appeal to your tribunal, whether to turn your
decisions into ridicule, or to express their approbation with an air
of self-sufficiency. It is madness to think of satisfying all the sense¬
less demands that may be made upon you. To no purpose will you
alledge, that [lossibly you may be mistaken. If you are so unfor¬
tunate as to fall into a single error, you will be hooted without mercy,
as if you had advanced a claim to infallibility.
A pro-
432
FRAGMENT SEVENTEENTH.
A profound and rational study of Physiognomy is then a matter of
extreme diffieult\ ! Yes, my dear Reader, it is much greater than
is generally imagined. I know well at what an expence it must be
cultivated j I know likewise that, after all my efforts, my progress in
it has been very small. Whoever seriously applies to the search of
truth; whoever lays to heart the good of humanity, and believes
himself capable of promoting it by the aid of our Science, will not
lightly, and without much self-examination, devote himself to this
branch of study. To discourage those who bring not to it the tact,
the capacity, and the leisure, which it demands ; to assist and encou¬
rage those whose call is clear and decided—this is the two-fold object
I proposed to myself. In this view I have giv^en a faithful account
of the observations which I have made; I have pointed out, without
self-sufficiency, and without affectation, the road which conducted
me to them.
I feel, more sensibly than any one, the imperfection and insuffi¬
ciency of the precepts which I have just laid down. Nevertheless,
follow them in the same spirit which dictated them, and I am con¬
vinced you will discover, both in Nature and the physionomy of
man, wonders and mysteries whieh w'ill amply rew^ard your labours.
I am likewise persuaded, that the greater progress you make, the
more indulgent and circumspect you will learn to be. You will be,
by turns, confident and timid ; but the more knowledge you acquire,
the more reserved you will become in pronouncing judgment.
LIST
LIST OF ENGRAVED PORTRAITS,
SINGULARLY REMARKABLE, AND CALCULATED TO FACILITATE
THE STUDY OF PHYSIOGNOMY.
Agrippa (Henry Cornelius).
Albert I. of Austria.
Albums, (Professor, at Leyden).
Alexander VIII.
Alphonso V. King of Arragon.
Algardi (Alexander).
Alva (Duke of).
Alvarbazan.
Alzinatus (Andreas).
Atnbiikus (Joannes).
Amherst (Jeffrey).
Anhalt (George, Prince of).
Anhold.
Anicius (Thomas).
Anson.
Apollonius.
Aretin (Peter).
Argoli (Andrew).
Arbrissel (Robert of).
Arnauld (Anthony).
Arnheim (John, Baron of).
Arrularius.
Avila (Sanchez d').
Aurelian (Charles, Son of Franc).
Balie (John).
BandinelH.
Bankest (Admiral).
Barberini (Francis, Cardinal).
Barbieri.
VoL. II.
Baricelli (Julius Cesar).
Bastius (Henricus).
Bayle.
Beaulieu (James).
Bekker (Balthazar).
Bellarmin.
Bembo (Peter).
Benedict XIV.
Bengel.
Bergli (de).
Bernard (Duke of Saxe-Weymar).
Bernini.
Berthold V.
Beza.
Bidloo.
Boileau.
Borromeo (St. Charles).
Bouillon (Claude de).
Bourbon (Anthony de).
Bourbon, the Constable.
Botirdeille (Abbe de Brantome).
Bourgogne Maximilian de).
Boxhorn.
Bracket (Theophilus, Sieur de la Mil-
letiero).
Brahe (Tycho).
Brandi (Hyancinthus).
Breugel.
Bronk (Van der).
Brutus.
5 R
Brussels
434 LIST OF REMARKABLE PORTRAITS.
Brussels (Philibert of).
Buchanan (George).
Buchoher (George).
Budeiis (Gulielnius).
Burmann (Peter).
Butler (Samuel).
Bucer (Martin).
Cabrinus.
Cacliiopin (Jaques cle).
Caldera (Edward).
Caligula.
Calloit (James).
Calvin.
Camerarius (Joachim).
Campion (Edmund).
Camus (Peter the).
Canisius.
Capello (Vincent).
Caracci (Annibal).
Carisius.
Casaubon (Isaac).
Casimir of Poland.
Cassini.
Castaldi.
Capias (Anne Claude Count of).
Celestin (George).
Celsus.
Cesar (Julius).
Champagne.
Charles I. of England.
Charles IV. and V. of Lorrain.
Charles V. (Emperor).
Charles IX. ^
Charles XII. )>Kings of Sweden.
Charles Giistavus J
Chemnitus (Martinus).
Chiavune (Andrew).
Chalet.
Christian II. Duke of Sa.Kony.
Christina II. of Nanteul.
Cicero.
Clarke.
Clauberg.
Clement VII.
Clement IX.
Cocceius.
Cochleus (Joannes).
Coddeus (Petrus).
Colbert.
Coligni (Admiral de).
Commines (Philip de).
Cook (John).
Copernicus.
Corneille (Peter).
Cornelissen (Anthony).
Cospean (Philip).
Costa (Christopher a).
Craton (John).
Cromwell (Oliver).
Cruciger (Caspar).
Cuspinian.
Democritus.
Demosthenes.
Descartes.
Dieu (Lewis de).
Distilmayer (Lambert).
Doionus (Nicholas).
Dolet (Stephen).
Dominican (Zampieri called the).
Dousa (Janus).
Douw (Gerard).
Drusius.
Dry den.
Dubois (the Cardinal).
Durer (Albert).
Durnhofer.
Dyk (John Van).
Elizabeth (Queen of England).
Elneker (Nicholas).
LIST OF REMARKABLE PORTRAITS. 435
Epinus (Joannes).
Erasmus.
Eric XIV. King of Sweden.
Eritius (Francis).
Evremonde (St.)
Eyrer (Melchior).
Fabricius (Joannes Ludovicus).
Farnese (Alexander, Duke of Parma).
Feltrkis (Franciscus).
Ferdinand I. and II. (Emperors).
Fevre (Le).
Fielding.
Fischer (John).
Flacciits (Matthias Illyricus).
Fleury (Cardinal de).
Floris (Francis).
Florisz (Peter).
Foil' (Gaston de).
Fontaine (De la).
Forest (Peter).
Forster (John).
Foster (Jacob).
Francis 1. King of France.
Frangipani (Cornelius).
Frank (Francis).
Frederick William, Elector of Branden-
burgh.
Frederick II. King of Prussia.
Frederick III. and IV. (Emperors).
Frego.se.
Frey (Janies, the Engraver).
Fridius.
Frieso (Admiral).
Fuentes (Don Pedro de).
Fugger (Henry).
Galen.
Gambold.
Gardie (Magnus Gabriel de la).
Gardin (Gabriel de).
Gamier.
Gassendi (Peter).
Geader.
Geiler (John).
Gentilefoi.
Gerard (Andrew).
Geritau (Robert).
Germanicus.
Gessner (Albert).
Gessner (Conrade).
Gessner (John).
Gest (Cornel. Van der).
Gevart (Caspar).
Goclenius.
Goldoni.
Goltius (Henricus).
Gonzago.
Gravius.
Graham (James, Marquis of Montrose.)
Gregory XIII.
Grotius (Hugo).
Grunluielt (Arnold de).
Gryneus.
Gustavus Adolphus, King of Sweden.
Guyon (Madam).
Guzman, (Philip).
Habis (Caspar).
Hagedorn.
Hagenbuch, a Scholar of Zurich.
Haller (Berthold).
Hamilton.
Harcourt.
Harder (John James).
Harnanus (Adrianus Junius).
Hebenstreit.
Heber (Paul).
Heidanus (Abrahamus).
Heinsius (Daniel).
Heller (Joachim).
Helmont (John Baptist van).
Helvetius
436
LIST OF REMARKABLE PORTRAITS.
Helvetius, Author of the Treatise on the
Mind.
jffe?;»zi/s (Maximi 1 ianus).
Henry 11. 111. and IV. Kings of France.
Henry Vlll. King of England.
Herwig.
Eime (Philip, Landgrave of).
Hofmann (John).
Holbein.
Homer.
Hondiiis (Gulielmus).
Horne (John of).
Hosennestel (Abrahams).
Hospital (Michael de 1’).
Hottes.
Houbraken, the Engraver.
Howard (Thomas 1. Duke of Norfolk).
Howard (Charles).
Hutten (Ulrice de).
Hyperius, (Gerardus Andreas).
Janin (Peter).
Jansenius (Cornelius).
Indagine (De).
Innocent X.
John of Austria, son of Charles V.
John, son of Rodolph 11.
John 111. King of Sweden.
Johnson (Samuel).
Jordan (Duke Paul).
Junius (Adrianus).
Junius (Pranciscus).
Junius (Robertus).
Junker (John).
Karschin.
Kemnitz (Joachim).
Kilian.
Kircher (Athanasius).
Klemavius (Joannes).
Kneller, the Painter.
Knipperdolling.
Kno.v (John).
Konigsmarck (John Christopher).
Krajft (Frederick).
Kress de Kressenstein.
Kupezky, the Painter.
Laar (Peter de).
Labadie.
Lactantius (Lucius Caslius Firmianus).
Ladislaus VI. King of Poland.
Lake (Arthur).
Lancre (Christopher Van der).
Lanfranc (John).
Langecius (Hermannus).
Lasko (John de).
Latome (John).
Lavater (Lewis).
Laurevitius (Andreas).
Lautenbach.
Leibnitz.
Lenfant (James).
Leo X.
Leopold 1. (Emperor).
Leyden (Lucas of).
Linguet.
Liorus (Joannes).
Lithoust.
Locke.
Longueval (Charles de).
Lonicerus (Joannes).
Lorrain (Francis of).
I.,otichius (Petrus).
Lewis Xlll. and XIV, Kings of France.
Loyola.
Lucius Verus.
Ludlow (Edmund).
Lully (Raymond, surnamed the enlight¬
ened Doctor).
Luther.
Luima.
Malebranche.
LIST OF REMARKABLE PORTRAITS. 43?
Malebranche.
Malherbe.
Mansfeldt (Ernest de).
Manucius (Paulus).
Maraldi.
Marhach (John).
Marillac (Lewis de).
Marlborough.
Marlorat.
Marni.r (Philip de).
Ma7-ol (Clement).
Martha (Scevola de St.)
Mathesoii, the Musician.
Matthias I. (Emperor).
Matthias ('I'homas).
Mauritius (Magnus).
Maximilian I. and II. (Emperors).
Maxhiiiliati (Landgrave).
Mazariii.
Meinuccius (Raphael).
Melauchton.
Mendoza (Francis de).
Mercurialis (Jerome).
Merian (Matthias).
Mettrie (La).
Meyr (William).
Michaelis (Sebastianus).
Michael-Angelo.
Mignard.
MUlichius (Jacobus).
Milton.
Minigre (John).
Moliere.
Molinos.
Mompel (Lewis de).
Monami (Peter).
Moncade (Francis de).
Montague.
Montantu (Didier de).
Montanus.
VoL. 11.
Montecuculi (Raymond de).
Montesquieu.
Montmorency (Henry Duke of).
Moreuil.
Morgagni.
Mornay (Philip de).
Mothe (Francis de la).
Moulin (Charles du).
Muntzer ('I'homas).
Muret (Peter).
Musculus (Andreas).
Musschenbroeck.
~v (Adolphus).
I lAiuelius).
Nassau
J (William Lewis).
Nerli (Frederick, Cardinal.)
Nero.
Newton.
Niger (Antonius).
Noo7-t (Adam de).
Oddo de Oddis.
Oletidartus (Joannes).
“I (William I. of).
Orange MFrederick Henry of).
J (Mary of).
Orleans (Lewis of).
Ortelius (Abrahamus).
Ostermann (Peter).
Ostervald.
Oximaniis (Nicholas).
Paaitw (Adrian).
Paauw (Regnier).
Palamedes Palamedessen.
Palatin (John Casimir).
Paracelsus ('fheophrastus).
Pareus (David).
5 S
Pascal
438
LIST OF REMARKABLE PORTRAITS.
Pascal.
Patin (Guy).
Paul V. (Pope).
Peier (Hartman).
Peirese (Fabricius, Seigneur de).
Pelisse.
Pellican (Conrade).
Pepin (Martin).
Perejixe (Hardouin de Beaumont de).
Per era (Emanuel Frocas).
Perkins (William).
Perrault (Claude).
Peruzzi (Balthazar).
Peter I. of Russia.
Peter, the Martyr.
Petit (.lolm Lewis).
Petri (Rodolphus).
Pfauscr (Sebastian).
Pfeffinger (John).
Philip the Bold, King of France.
Philip the Good, Duke of Burgundy.
Picenus.
Piscatnr (Joannes).
Pithou (Francis).
Plato.
Pontorma (Jacobus).
Pope.
Porta (John Baptist).
Portocarrero (Cardinal).
Po.striiis (Joannes).
Ptolomeus (Claudius).
Pulmanius (Melchior).
Puteunus, or Du Put/ (Eric).
Puttnam (Israel).
Quesnel.
Quesnoy.
Rabelais.
Ramus, or la Rame (Petrus).
Rantzau (Daniel and Henry).
Raphael.
Raphelengius (Francis).
Razenstcin.
Retz (Cardinal de).
Rhenferd (James).
Ricciardi (Thomas).
Richlieu (Cardinal de).
Rigaud (Hyacintus).
Rodolphus II. (Emperor).
Romano (Julio).
Rombouts ('I'heodore).
Rondelet (William).
Rosa (Salvator).
Rosso (named Master), the red.
Rousard.
Rouse (Gerard).
R ubens.
Rufus.
Ruysch.
Sachs (Hans).
Sachtlc-ven (Cornelius), the Painter.
Sapianus (Petrus).
Sarccrius (Erasmus).
Savanarole.
Savoy (Francis Thomas of).
Savoy (Charles Emanuel of).
Saurin.
Suyra (the Abbe).
Scaglia (Cesar Alexander).
Scalichius (Georgius).
Scarro7i (Paul).
Scheuchcr (James).
Schmidt de Schwarzenborn.
Schoinhergh (Frederich Arnold de).
Schopflin (Daniel).
Schorer (Leonard).
Schramm (Gottlieb George).
Schutt (Cornelius).
Sell nil.
LIST OF REMARKABLE PORTRAITS. 439
Scliuil.
Schzeenckfelcl (Caspar de).
Scot (Thomas).
Scuderi (Magdalene de).
Seha (Albert, the Naturalist).
Sehizius (Melchior).
Seghcrs (Gerard).
Seide (Francis).
Septalius (Manfredus).
Servian (Abel).
Seymour (Edward).
Sextus V.
Skadey.
Sleidan (John).
Snell de Royen (Rodolphus).
Socrates.
Sonnenfels.
Sophocles.
Sorbonne (Robert de).
Sortia.
Spanheim (Frederick).
Spener (Philip James).
Spinola (Ambrosius).
Spinosa (Benedict de).
Stanglin (Zachary).
Steven (Robert).
Straward (John).
Sturm von Sturmegg.
Swift.
Tabow'in (Thomas).
Tassis (Anthony de).
Thaulere (John).
Thou (James Augustus de).
Thoyras (Rapin de).
Tindal.
Tintoret (James Robusti).
Titian.
Titus Vespasianus.
Tholouse (Montchal de).
Toletanus (Ferdinandus).
Trellcatius (Lucas).
Turneyser (Leonard).
Uden (Lucas de).
Ulric (James).
Ursinus (Zacharias).
Ursius (Plonorius).
Vagius (Paulus).
Valette (John Lewis Nogaret dela).
Duke d'Epernon.
Valeiis (Joannes).
Vatable (Francis).
Velius (Julius Cesar).
Verger (Peter Paul).
Vesalius.
Vespasian.
Vespuciits (Americus).
Viaud (Theophilus de).
Vieta (Francis).
J ilani (Francis).
J illeroi (Marquis of).
1 itre (Anthony).
I ives (Lewis).
Vocco (John).
Volckamer (John George).
J'oltaire.
Volterre (Daniel Ricciarelli de).
J'opper (Leonard).
J^os (Simon de), the Engraver.
Vosterman (Lucus).
Vouet.
Vulcanms (Bonaventura).
IVarin (John).
Wasener (Jacob).
Weinlobius (Joannes).
Reis (Leonard), of Augsbourg.
Werenfels (Samuel).
Wildens (John).
IVillis (Richard).
IVolf
440 LIST OF REMARKABLE PORTRAITS.
JVolf (Christian de).
fVolfenbuttle (Anthony Ulric, Duke
of).
Jf'olfgangus (Lasius).
H iirternherg (Everhard, Duke of).
Zanchius (Jerom).
Zig7iani (Charles).
Zinzendorf.
Zisca (John).
Zuinglius.
REMARKABLE
FRAGMENT EIGHTEENTH.
DETACHED REMARKS.
MUCH still remains to be added; but it is now time to conclude
this volume, which has already swelled beyond a proper size. The
most interesting subjects are reserved for the Third, and to it I refer
the Reader. Let him not form his judgment of my work on what 1
have not as yet said; let him keep entirely to what I have said —and 1
presume to hope, he will find that I have not been trifling with his
attention.
I have hitherto endeavoured to collect materials, and to exercise,
by examples, the physiognomical tact of those who will take the
trouble to reflect. In this view, I have passed by in silence the
greatest part of the objections commonly oflFered, satisfied with refuting
them by facts.
The case of objections against the physionomy is frequently simi¬
lar to those disputes which are started respecting the legitimaey
and moral end of certain actions in life. There is nothing easier than
to attack these by puzzling sophisms. But the truly good man, who
does not stand still to give dissertations on virtue, listens to the cap¬
tious arguments which ai’e thrown out against him, modestly gives
his opinion of them, is silent when he sees it rejected, loses temper,
or smiles, and then goes and puts in practice the duties, the utility,
or possibility of which had been called in question—and in the end
the eavillers are constrained to admit, ‘ that this man was in the right,
and acted wisely.’
A great number of persons will pass whole days in declaiming
against Physiognomy, and in devising, against this science, objections
which it is frequently difficult immediately to overthrow. The Phy-
VoL. II. 5 T sionomist.
442
FRAGMENT
EIGHTEENTH.
siouomist, meanwhile, listens in silence, smiles at the jokers, then
goes and selects from the crowd, a man whose merit had been over¬
looked; embraces him, and calls him Brother —and this discovery
procures him a satisfiiction, which all the sophisms in the world
cannot discompose; a joy as pure and unchangeable, as the delicious
sentiment which flows from the performance of a good action.
^ ^ ^
‘ There can be no such thing,’ 1 shall be told, ‘ as a general Phy-
‘ siognomy, seeing every individual feels, in his onn wav, sympathy
‘ or antipathy for the forms which surronnd him. Object^ [)roduce
‘ on every one of us a particular impression, after which we act. It
‘ is frequently the exterior which dicides respecting friendshij), love,
‘ hatred; and this exterior is ever found wonderfully in harmony
‘ with the interior.’ I am by no means disposed to call in cjuestion
the truth of this proposition ; but it does not at all affect this other
truth : ‘ That certain faculties and certain instincts may be determin-
‘ ed in an abstract manner, by external signs.’
* * *
I should be tempted to call the physiognomical sentiment ‘ a lively
‘ interest which I take in visible objects—an interest which leads me
‘ to know, if not wholljq at least in a great part, the relation which
‘ subsists between the existence of one individual and that of an-
‘ other; between its existence and my own.’
* * *
But this sentiment which disposes us to the study of this Science,
is sometimes an obstacle in the way of progress. If, on the one
hand, beauty attracts, and ugliness repels us—on the other, the de¬
sire which allures to the former, and the aversion which the second
excites, prevent us from considering both the one and the other with
the attention and impartiality which are necessary to the thorough
knowledge of them.
But
DETACHED REMARKS.
443
But is it necessary, after all, to know the whole thoroughly? It ap¬
pears to me that every one is a Physionoinist to a certain point; that
every one has a physiognomical tact to such a degree as to be strict! v
sufficient for him.
* * *
I am abundantly sensible that exterior objects affect me very diffe¬
rently now from what they did when I was young: it is very possi¬
ble, hoH'ever, that this change may not be an effect of the progress
of my knowledge. The relation of things, perhaps, alone may have
changed.
* * *
Physiognomy is a poetic feeling, which perceives causes and effects.
Most men appreciate a poem as they do a picture: in both they look
for beauties, resemblances, or caricaturas.
* * *
The decisions w'hich have been, or still may be, pronounced on
my Essays, will be productive of innumerable writings on the science
of Physionomies. The motto of Bayard, sans peur et sans re-
PROCHE,"* does not better accord with the beautiful physionomy of
that gallant Knight, than the criticisms of our young literary Doctors
agree with their learned mien and starched air.
* * *
Were 1 permitted to ask a favour, it would be, that my Work
might not yet become the subject of conversation in the view' of
either praise or censure; and that time may be allowed me to re¬
solve by induction difficulties which appear insurmountable.
* * *
I risk nothing, in the mean time, when I assert, that of all the
objections which have reached me, there is not a single one but may
easily be removed by distinguishing between the solid parts and the
soft —between the dispositions and the employment of the faculties.
* Without fear and witliout reproach.
Eveiy
444
FRAGMENT EIGHTEENTH.
* * *
Every thing in man is, if I may use the expressions, /abel and con¬
tents, branches and root, disposition and employment, Jiesli and bone.
Unfold this idea, pursue it as far as you can, and it will give you
the key to the w hole of Physiognomy.
H! if. *
But even on the supposition, that all I have produced in this
Volume is nothing more than a representation of certain real pei’-
sonages, nothing more than a gallery of physionomies and characters;
on the supposition, that I have not pointed out and demonstrated, in
any respect, the harmony which exists between the exterior and the
interior—I should not be disposed, however, to believe that I have
undertaken a fruitless labour. I am, nevertheless, fully convinced
that every man w'ho will take the trouble to reflect on this Work,
and who will not look upon it as a piece of amusement merely;
that every sensible and attentive man, will find in the little I have
advanced, somewhat to exercise his eye and his physiognomical tact.
1 have the confidence to flatter myself, that in furnishing him with
certain positive signs, on which he may depend, I have put liim in the
train of pursuing for himself and investigating, what I have felt and
observed ; and that 1 have pointed out a course in which he may,
without farther assistance, proceed.
^
Before I conclude, I must earnestly entreat all those who may be
disposed to address me, to spare me every species of question and
consultation respecting any fiice or portrait whatever. I shall esteem
myself much indebted to any one who shall procure for me exact
silhouettes of persons distinguished by eminent talents or virtues; but
I must beg to be excused, should I fail to express my gratitude in
writing.
END OF THE SECOND VOLUME.
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