EXPRESSION. 41 



artist to convey by forms permanent characters 

 of mind. 



It may, indeed, be fairly held that a graceful 

 form, by awakening the idea of the graceful in the 

 onlooker, will lead him to associate that idea with 

 the possessor of the form, and will tinge his judg- 

 ment of the mind behind it ; especially when the 

 graceful forms are found in the head, the seat of the 

 organ of mental action, and the face the special 

 index of its changes. So also the idea of strength 

 given by a well-knit body may be erroneously 

 allowed to impress the judgment favourably as to 

 the presence of strength of mind ; and, indeed, it 

 may also be held that the habits engendered by a 

 sturdy or weakly bodily development have much 

 influence in modifying mental tone. But no such con- 

 siderations will account for those various symbolisms 

 of form by means of which every competent painter 

 is able to portray minds of various mould, apart 

 from the temporary expression. I do not attempt 

 at the present moment to explain why ; but assur- 

 edly very different mental characteristics will be 

 indicated by varying the proportion of breadth to 

 length in drawing a face, or by varying the propor- 

 tion of one-third of the face to the rest. A massive 

 chin is so distinctly a physiognomic representation 

 of firmness, that an artist would in vain attempt to 



