EAGLES AND AET. 253 



action, he rather choose those with Koman noses and large nos- 

 trils. This form of speech Eoman noses comes of course 

 from the historical identity of the arched nose of the Ko- 

 mans "with their daring and iron firmness of will. 



Thus the Artist has found that conquerors, warriors, re- 

 formers, discoverers carry the sign of the Eagle in their pro- 

 files, indicating the aggressive and victorious impulses they 

 display while in contrast he perceives that the more passive 

 natures those which are strong to endure, which are the 

 prudent, the sagacious and the contemplative do not carry 

 this vaulting sign. These take the signs they bear rather 

 from the depressed lines of the lion and the elephant Such 

 is peculiarly the face of the Scotch people, who are fa- 

 mous the world over for courage, prudence and sagacity. 

 Thus while the arched line in the Eagle-face expresses ag- 

 gressive daring and sublimity of purpose, the depressed line 

 in the lion-face, expresses courage, caution and endurance. 



The Artist in conceiving the face of a daring but savage 

 conqueror, like Attila, Charles the Bold, or Charles XII. 

 of a bitter and stern fanatic, like the reformer Knox, must 

 think 



of Eagles on their rocks 



With straining feet and that fierce mouth and drear, 

 Answering the strain with downward drag austere ;" 



for to him such an association is irresistible, and by its aid he 

 is enabled readily to embody a just conception of either. If, 

 on the other hand, he would sculpture the head of the pa- 

 tient and courageous sage, as that of Socrates one 



u Who ponders high and deep, and in whose face 

 We see astonied, that severe content 

 Which comes of thought and musing," 



he recurs back unconsciously to the face of the lion for sug- 

 gestion of outline, while the expression is modified by certain 

 characteristics suggested from that of the elephant. 



