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vey to us every possible circumstance attendant upon the motion of bodies. First, Bodies, when in motion, appear to change their form. A bird, for instance, when it moves its wings, or a quadruped when it moves its feet, is every moment changing its form,—and this, we conceive, is sufficiently observed by the faculty of “ Form.” Secondly, An object, when moving from us, or toward us, appears to vary in size; in the former case it appears to diminish, and in the latter to increase, -and it requires experience to satisfy us that this variation of size is apparent only, and not real. This apparent change, however, is one of the most important circumstances by which we judge of motion and of bodies in motion-of the velocity with which they move, and the distance or quantity of space through which they pass. For all these observations the faculty of “ Size” appears perfectly adequate. Thirdly, Objects in motion appear to change their colour, according to the situation and point of view in which they are seen, and their nearness to, or remoteness from, the eye of the observer. For this, of course, the organ of Colouring requires no assistance. Fourthly, Objects in motion exert different degrees of mechanical force, and meet with different degrees of resistance. So far as this circumstance is an element in motion, the organ of Weight affords us all the information that we require. Lastly, Objects in motion change their position and place in relation to other objects. An object which was a little ago on our right hand, is by and by upon our left;-a bird has flown over the trees which we see at a distance,-it gradually approaches-is now right over our heads,-now rests upon the steeple,---or crosses the river, and disappears over the summit of the mountain. There is nothing here that we may not learn from Locality. In short, it seems impossible to point out a single circumstance connected with motion that these different faculties do not take cognizance of separately. The only use of any faculty is to convey information to the mind, and if the faculties we have mentioned afford us all the information we require or can ob
tain respecting motion and objects in motion, the probability is, that there is no special faculty for motion. If there had been such a faculty, we should certainly expect to find the organ of it large in Mr Audubon, when representation of objects in motion is the most vivid we can conceive; but it appears to us, that his talent in this respect may be perfectly accounted for, without resorting to any separate faculty, by his great development of Form, Size, Weight, Colouring, Locality, and Individuality; these appearing to us sufficient to convey the most accurate information of every circumstance attendant upon the motion of external objects.
Leaving this discussion for the present, it is time that we attend to M. Weiss, in whom the development of the organ of T'une was extremely conspicuous. A mask, in plaster, was taken from his head, during his stay here, by Mr O'Neil of this city, and is to be had for sale, along with the other phrenological casts; so that everyone may have an opportunity of satisfying himself of the fact with regard to the prominence of the organ of Tune. It appears in the mask of that triangular or pyramidal form remarked by Gall in the heads of Gluck, Mozart, and some other celebrated musicians. Of the manifestations in this case, we cannot do better than quote the account given in a contemporary paper.
“ MB Weiss.-We have had the pleasure of hearing this delight“ful performer, who, we observe, has advertised a concert for Fri
day next; and though by no means qualified to speak scientifi, "cally on the subject, we can safely say that we never received more “ gratification from a single instrument than we did from this gen" tleman's performance on the flute. His tone is of the most rich “ and mellifluous character, and his execution appeared to us to “ come as near perfection as the nature of the instrument will ad“mit. He favoured us with some very beautiful variations on some “ of our own favourite national airs; and although, in common with
many of our countrymen, we would perhaps have preferred hear
ing them in their own simple and unadorned melody—it is too “ much to expect of a foreigner, that, in a matter where so much “ depends on association, he should feel the same enthusiasm as our"selves in what, as an artist, most probably appears to him bald " and destitute of ornament. This we must allow, that the orna. “ments and enrichments which he did introduce, appeared to us to “ be uniformly characterized by a most refined taste, and to be well
“adapted to the subjects on which they were respectively engrafted. “ We do not feel competent to speak on the technical difficulties and “merits of flute-playing, nor on the recondite mysteries of double
tonguing ; but as far as we were able to judge, it seemed to us that, in the parts most difficult of execution, Mr Weiss was equal
ly at home as in the most easy. In some of his variations, his “ performance of double parts to the same air was so perfect, that it
required the evidence of our senses to satisfy us that it was one “performer and one instrument which produced this effect. We “cannot leave the subject without noticing his exquisite performance “ of the celebrated Ranz des Vaches, which in his hands assumed a “ degree of beauty and pathos we never observed in it before. We “ could have imagined, in hearing it, that we were listening to the
tones of a flageolet prolonged and reverberated from the lofty rocks “ of the Swiss mountains, and repeated, until the sounds were alto“gether lost in the tenuity of their distant echoes. Altogether, we
repeat, that we never received more gratification from any single “ performance; and we sincerely hope that Mr Weiss will experi“ence a portion of that public favour, to which his genius so justly “ entitles him."-Scotsman, November 29, 1826.
here observe, in regard to M. Weiss, that though the organ of Tune was certainly possessed by him in a high state of development, and the other organs well balanced and proportioned, yet the head was upon the whole not large,ma circumstance which corresponds both with the direction and the limits of his musical powers. All the phrenological works state, that for the manifestations of the highest degree of power in any way whatever, great size of head is an indispensable requisite; and it is a fact, that all very great musicians, and eminent composers of music, bave possessed large heads, of which Handel and Mozart may be cited as examples. The flute, which is the favourite instrument of M. Weiss, is an instrument of great sweetness, but not of the highest power; and beautiful as were the tones and the melodies produced from it by the art of M. Weiss, this, though it were admitted to be the perfection of art as far as it went, is still not the highest art. This consideration reminds us of another professor of musical science, now no more, of whose development we are also possessed of what we may suppose a tolerably correct representation—the late celebrated composer Weber. The bust of this composer, now exhibited in the
rooms of the Institution, was made, we believe, from a cast taken after death, and the features retain in them somewhat of the gastliness of death, even in the inanimate plaster. The development is, however, striking, and, as belonging to a com. poser of so peculiar a character, highly valuable. The development of Tune is unquestionably large, being equally conspicuous as that in the mask of M. Weiss. But it is not in this organ alone that the marks of Weber's genius are to be sought for. The forehead, though somewhat retreating, is high and broad-Ideality and Wonder are evidently both large-Cautiousness seems also large, and the expression of that feeling is strongly marked in the features. The head altogether is large; the height is also considerable in proportion to the breadth. This development corresponds remarkably with the character of Weber's music, and forms a complete contrast to that of M. Weiss. No education, and no circumstances, could have produced in these two men an interchange of manifestation. Weber could have as little been satisfied with flute-playing, or contentedly limited his ambition to performances on an instrument of such moderate compass, as the other could have risen to the vastness and sublimity of conception shewn in “ Der Freischutz,” or “ The Ruler of the Spirits.” We may apply to them what Akenside says
of two celebrated poets :
The tale of slighted vows, and love's disdain
Such and so various are the tastes of men. The poets, after all, have hitherto been the true interpreters of nature. Nothing can be more correct than what is here stated of the diversity of tastes; por, may we add, more strictly phrenological. The description in the former part of the passage accords with the taste and the genius of Weber. His Destructiveness, Cautiousness, Ideality, and Wonder, which the bust shows him to have possessed, fitted him to pursue “ The vast alone, the wonderful, the wild" and music is only used by him as affording the means of embodying and expressing the mighty conceptions with which his mind was labouring—“ Harmony, grace, and gentlest
beauty,” are the appropriate subjects of aspiration for such a development as that of M. Weiss..Both are in their way fitted to impress the mind with a different species of delight.
THE INFANTICIDE, ANE NIELSDATTER.
(Communicated by C. Otto, M. D., Corresponding Member of the
This criminal was beheaded in Copenhagen, in the spring of 1819; her crimes constitute one of the most remarkable mental phenomena, which cannot be explained but by the princi
• It will be recollected, that Dr Otto writes in, what is to him, a foreign language. His idiom is not always English, but his meaning is quite distinguishable, and we, therefore, present his communication almost exactly as received,