Our Portrait Gallery 



257 



some, a thief, king of mischief." Judas was painted with 

 red hair (but so also was the Virgin Mary). A Latin fable 

 of the fox and goat ends as a moral with the words, " Monet 

 nos hcec fabula rufos evitare." Alfred's antipathy to red hair 

 may have had something to do with its prevalence amongst 

 the Danes, whom Gray terms " the red-haired slayers." 



OUR PORTRAIT GALLERY. 



The two portraits which were given last month were pur- 

 posely left without names. As was then explained, this 

 omission had for its object the hope of encouraging a careful 

 examination of features, uninfluenced by knowledge of the 

 individual. We now proceed to offer descriptions of the 

 features in both, with brief comments on what they may be 

 supposed to suggest. In examining the human face, whether 

 living or in a portrait, with a view to recognition of character, 

 it is convenient to do so under the headings of Expression, 

 Features and Accessories. It might be well, were it practicable, 

 to exclude accessories, since they are not really intrinsic and 

 may be misleading. It is, however, not possible to shut the 

 eyes to the insignia which denote rank, race, or vocation, and it 

 is better carefully to recognise them and consider them apart. 

 Under the head of Features we place all that constitutes 

 the framework of the face. They are unalterable excepting 

 as the slow result of time, and are in no sense under the 

 control of their possessor. It is different with Expression, for 

 under that term we include the superadded peculiarities of 

 the mobile parts of the countenance. These may to some 

 extent and in practised persons be assumed for the moment, 

 but they are, in a more important aspect, the consequences of 

 the moods which have been in the past more or less habitual 

 to the individual. Thus expression is a personal acquisition 

 and reveals personal character, whilst features are inherited 



