should be flat, and the breadth of the head here should be diminished. Fig. 1 represents these organs small, and Fig. 2

exhibits them large. But the most important departments of the brain remain to be noticed, namely, those which represent moral and intellectual power.

To represent strong Benevolence, Veneration, Hope, Conscientiousness, and Firmness, the top of the head, or coronal region, must be drawn high and arched; and if we desire to add to these the qualities of prudence (Cautiousness) and strong sensibility to the sublime and beautiful (Wonder and Ideality), this region must be extended in breadth as well as in height. There is a rule of art, borrowed from the Greek statues, for representing a high character, namely, to draw as much head above the axis of the eyes, as there is face below that point; but this affords an approximation only, and not a perfectly correct guide to nature. The head may be high above the eyes, from a great development of the intellectual organs, without a corresponding development of Benevolence; or it may be high above the eyes from a great development of Benevolence and Imitation, without a corresponding development of the intellectual organs. The line to which the hair descends on the forehead does not form, and therefore affords no certain indication of, the boundary between the organs of intellect and those of the moral sentiments; I have seen the hair, in some instances, descend as low as Causality, and in other cases leave a portion of Benevolence uncovered. Besides, as age advances, the hair generally falls off first from the forehead, and changes the boundary-line between the covered and uncovered parts without changing the character of the brain or mind. Again, a head may be high above the ear in the posterior coronal region, from a great development of Destructiveness, Secretiveness, and Cautiousness, without Conscientiousness and Firmness being large. This is apparent

in the figure of Hare (see p. 122), in which the distance from the ear to the upper line of the head is very considerable, but the portion really belonging to the moral faculties is small. Or, the brain may be high in that region from a great development of the moral organs, as in the Swiss skull which will be immediately introduced. The true rule for the artist to follow in representing high moral qualities, is to enlarge the height and breadth of that part which lies above a line drawn round the head, and passing through the centres of ossification of the frontal and of the parietal bones, corresponding to the centres of the organs of Cautiousness and Causality in the phrenological bust. The three following figures will render these observations plain. Figure 3 represents a negro skull, and the anterior asterisk is the centre of ossification of the frontal bone, corresponding to the centre of Causality; the posterior is that of the parietal bone, corresponding to the centre of Cautiousness. A line drawn round the head,

passing through these two points, would leave all the moral region (with slight exceptions mentioned in the elementary works on Phrenology) above it.

Figure 4 represents the skull of a Sandwich Islander, in which the moral region is a little larger in proportion to the animal than in the Negro; while Figure 5 is the skull of a Swiss, in which the moral region is still larger in proportion to the other than in Figure 4.

The student of art is requested to observe that these points are not arbitrary marks invented by phrenologists, but real centres of ossification, easily distinguishable in the skull, and recognisable by the hand in most living individuals. The fact that the moral organs lie above them is established by obser

vation. I shall afterwards shew to what extent this truth has been recognised by the great masters in sculpture and painting.

The intellectual faculties are manifested by a portion of the anterior lobe of the brain, which has three dimensions that concern the artist,-length from front to back, height, and breadth. The lower surface of this lobe covers exactly the super-orbitar bones, or those thin osseous plates which are over the eye-balls. If these plates are long from front to back, the anterior lobe is long; if short, it is short. The power of the intellect depends greatly on the length of this line. To discover the position of the posterior edge of the plate, it is necessary, in the living subject, to feel for the most prominent point of the zygomatic arch; which is generally found where the two bones that constitute the arch meet. If we draw a perpendicular line upwards from that point (keeping the axis of the eye parallel with the horizon), and a horizontal line from the upper edge of the socket of the eye-ball backwards till it meets the perpendicular line; and if we then, from the point where these lines meet, draw a line to the anterior asterisk, the triangle thus formed will inclose the chief portion of the intellectual region of the brain. In William Hare, the portion before

A B represents the intellectual organs; that above the line BC, the moral region. The parts behind A B and below B C, represent the organs common to man and the lower animals. In Hare, the moral and intellectual regions are small, and the

animal region very large. He assisted in the murder of sixteen human beings for the purpose of selling their dead bodies to the professors of anatomy for dissection. Melancthon, in whom these proportions are reversed, was the highly intellectual, moral, religious, and accomplished associate of Luther, in effecting the Reformation in Germany.

I must apologise to the readers of your Journal for introducing these details. To them they are the mere rudiments of Phrenology, but to artists in general many of them are unknown. It is 75 years, this very day, since Sir Joshua Reynolds, in his discourse delivered at the opening of the Royal Academy, used these remarkable words: "I must submit one thing more to the consideration of the visitors, which appears to me a matter of very great consequence, and the omission of which I think a principal defect in the method of education pursued in all the academies I have ever visited. The error I mean is, that the students never draw exactly from the living models which they have before them. It is not indeed their intention; nor are they directed to do it. Their drawings resemble the model only in the attitude. They change the form according to their vague and uncertain ideas of beauty, and make a drawing rather of what they think the figure ought to be than of what it appears." In regard to drawing and modelling the head, in so far as it is covered with the hair, this error continues uncorrected, except by artists who have studied Phrenology, or been rendered alive, by the discussions which it has excited, to the importance of the forms of the head. Sir Thomas Lawrence painted King George IV. for the Pope, and the ear is placed in a position that I have seen only in the heads of executed murderers; Canova has modelled the heads of eminent public characters in forms that are in direct contradiction to their dispositions; and Chantrey has committed the same fault. I see the error repeated by men of great talents, in this city, every day. There can be only one cause of this mistake; they do not understand the meaning of the forms.

It is generally admitted, in treatises on art, that large lungs, indicated by an expanded chest, are the natural associates of powerful muscular limbs; and that, on the other hand, an abdomen of ample rotundity and prominence, combined with a chest of moderate dimensions, is generally accompanied by a fat, flabby, and ill-proportioned muscular system. The physiological reasons for these facts are obvious. Large lungs vivify the blood, from which the bones and muscles are formed; and its healthy condition naturally lays the foundation of

strength and vivacity, not only in these, but in the whole organism. The abdominal viscera, again, are the organs of nutrition; and if they be too powerful, in relation to the vivifying organs, they will produce obesity of person, shapeless masses of flesh, destitute at once of grace and energy. Farther, it is allowed that there is a certain proportion between the size of the head and the stature of the person, any wide departure from which is a deviation from nature. Now, I go a step further, and observe that there is a relation between the size of particular regions of the brain, and particular characters of the body at large. I shall endeavour to explain how this takes place.

The spinal marrow consists of two double columns; the two anterior columns giving forth the nerves of voluntary motion, while the two posterior columns give forth the nerves of sensation to all parts of the body below the head. The anterior lobe of the brain manifests intellect, the chief element of will, and the two columns for motion are placed in direct communication with it, by means of numerous nervous fibres, which have their anterior ends in the frontal lobe, and their posterior ends in these anterior columns. It is easy to conceive that a greater or less perfect development and condition of the nerves of motion may influence the character (by which I mean the form and texture) of the muscles and skin which they are destined to move; and it is equally easy to comprehend how a greater or less development of the frontal lobe, in which voluntary motion arises, and from which the impulse is sent directly to these nerves, causing them to act in all parts of the body, may also affect the character of the same parts. The deep furrows in the countenance, produced by intense thought, afford an example of the influence of the anterior lobe on the face. These connections will be rendered more intelligible by the following figures.