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 
