friends in two files, he retired from the room, and instantly returning, his friends exclaimed, "Ah! behold the King, Louis XV. to the life." He imitated in succession all the other personages of the court, who were instantly recognised. He imitated not only their walk, gait and figure, but also the expression of their countenances. Dr. Gall, therefore, easily understood how greatly the faculty of Imitation would assist in the formation of a talent for acting; and he examined the heads of the best performers at that time on the stage of Vienna. He found the organ large in them all, namely, in Müller, Lange, Brockmann, Schræder, Bauman, Koch, and his daughter. He got the skull of Jünger, a poet and comedian, and he afterwards used it to demonstrate the organ. Subsequently, he and Dr. Spurzheim, in their travels, met with many confirmations of the organ; in particular, in the house of correction at Munich, they saw a thief who had this organ large. Dr. Gall said he must be an actor: surprised at the observation, he acknowledged that he had for some time belonged to a strolling company of players. This circumstance was not known in the prison when Gall made the observation. On these grounds, Dr. Gall conceived himself justified in admitting the existence of a particular talent for imitation; that is to say, a faculty which enables the possessor in some degree to personify the ideas and sentiments of others, and to exhibit them exactly by gestures; and he considered this talent to be connected with the particular organ now pointed out.

This organ contributes to render a poet or author dramatic, such as Shakspeare, Corneille, Moliere, Voltaire, &c. It is large in the portraits of Shakspeare, and also in the bust of Sir Walter Scott, whose productions are strongly characterised by their dramatic scenes.

This faculty produces the talent for imitation alone; and Mr. Scott has observed, that, in perfect acting, there is more than imitation. There is expression of the propensities and sentiments of the mind in all the truth and warmth of actual and natural excitement; and this power of throwing real expression into the outward representation he conceives to depend upon Secretiveness. Thus,

says Mr. Scott, a person with much imitation and little Secretiveness, could represent what he had seen, but he would give the externals only in his representation; add Secretiveness, and he could then enter into any given character as it would appear if existing in actual nature: he could, by means of this latter faculty, call up all the internal feelings which would animate the original, and give not a copy merely, but another of the same,-a second edition, as it were, of the person represented. In this analysis of acting, perhaps, too much influence is ascribed to Secretiveness, and too little to Imitation: My own opinion, as expressed on p. 184, is, that Secretiveness produces chiefly a restraining effect, and that Imitation enables its possessor to enter into the spirit of those whom it represents.

While, however, Secretiveness and Imitation together may thus be regarded as general powers, without which no talent for acting can be manifested, it is proper to observe, that the effect with which they can be applied in representing particular characters, will depend on the degree in which other faculties are possessed in combination with them. They confer on the individual only the capacity of applying, in this particular way, the whole other powers of the mind, so far as he possesses them; but they do not supply the want of these powers. For example; an actor destitute of Tune, however highly he may be endowed with Secretiveness and Imitation, could not imitate Catalani, or, what is the same thing, perform her parts on the stage; and neither could an individual possessing little Combativeness and Destructiveness, represent with just effect the fiery Coriolanus; because the natural language of indignation can no more be called up by Secretiveness and Imitation, without Combativeness and Destructiveness, than melody without the aid of Tune. Hence, to constitute an accomplished actor, capable of sustaining a variety of parts, a general full endowment of the mental organs is required. Nature rarely bestows all these in an eminent degree on one individual; and, in consequence, each performer has a range of character in which he excels, and out of which he is nothing; and I have found, by repeated observations, that the lines of success and failure bear a decided refer

ence to the organs fully or imperfectly developed in the brain. Any one may easily put this observation to the test of experiment. Actors incapable of sustaining the dignity of a great character, but who excel in low comedy, will be found deficient in Ideality; while, on the other hand, those who tread the stage with a native dignity of aspect, and seem as if born to command, will be found to possess it largely developed; and also Firmness, Self-esteem, and Love of Approbation. It does not follow, however, from these principles, that an actor, in his personal conduct, must necessarily resemble most closely those characters which he represents to the best advantage. To enable an individual to succeed eminently in acting Shylock, for example, Firmness, Acquisitiveness and Destructiveness, are reckoned indispensable; but it is not necessary, merely because Shylock is represented as deficient in Benevolence, Justice, Veneration, and Love of Approbation, that the actor also should be so. The general powers above referred to, although they do not supply the place of deficient faculties, are quite competent for the time to suppress the manifestations of opposite sentiments. Hence, in his proper character, he may manifest in the highest degree the moral sentiments; and yet, by shading these for the time, by the aid of Secretiveness, and bringing into play only the natural languages of the lower propensities, which also we suppose him to possess, he may represent a scoundrel to the life.

This faculty is indispensable to the portrait painter, the engraver, the sculptor; and, on examining the heads of Mr. Douglas, Mr. Joseph, Mr. Uwins, Mr. W. Allan, Mr. James Stewart, Mr. Selby the ornithologist, and Mr. Lawrence Macdonald, I found it large in them all. Indeed, in these arts, it is as indispensable as Constructiveness. It also aids the musician and linguist, and, in short, all who practise arts in which expression is an object.

Imitation gives the tendency to express by gestures the thoughts and feelings of the mind, and hence is requisite to the accomplished orator. In private life, some individuals accompany their speech with the most forcible and animated expressions of countenance, the nascent thought beams from the eye, and plays upon

the features, before it is uttered in words;-this is produced by much Imitation, Secretiveness, and Ideality.

This organ is possessed by some of the lower animals, such as parrots and monkeys, which imitate the actions of man.

When this organ and that of Benevolence are both large, the anterior portion of the coronal aspect of the head rises high above the eyes, is broad, and presents a level surface, as in Miss Clara Fisher, who, at eight years of age, exhibited great talents as an actress. When Benevolence is large, and Imitation small, there is an elevation in the middle, with a rapid slope on each side, as in Jacob Jervis. The organ is large in Raphael. It is regarded as ascertained.

In both of these figures the head rises to a great height above the eyes; but in Jervis it slopes rapidly on the two sides of 13, Benevolence, indicating Imitation deficient; whereas in Miss Clara Fisher it is as high at 21 Imitation, as at Benevolence, indicating both organs to be large.

ORDER II.-INTELLECTUAL FACULTIES.

THESE faculties cornmunicate to man and animals knowledge of their own internal sensations, and also of the external world; heir object is to know existence, and to perceive qualities and relations. They consist of three genera; the first genus includes the Five Senses; the second, those powers which take cognizance of external objects and their relations, named Knowing or Perceptive Faculties; and the third, the faculties which trace abstract relations, and reason or reflect.

GENUS I.-EXTERNAL SENSES.

By means of the Five Senses, man and animals are brought into communication with the external world. Dr. Spurzheim, in his "New Physiognomical System," and, in his recent work "Phrenology," gives admirable treatises on the senses; of which I avail myself largely in the following pages.

The opinions entertained by philosophers in regard to the functions of the senses, have been whimsical, extravagant, and contradictory. Since the time of Bacon and Locke, the greater number of philosophical systems rest on the axiom of Aristotle, that all ideas come into the mind by means of the external senses. According to this notion, he who possesses them in the highest state of perfection, is able to manifest most powerfully the faculties of the mind; or, in other words, the faculties, both of man and animals, ought to be proportionate to the perfection of the five senses, and to the education bestowed upon them. Daily experience, however, contradicts this hypothesis.

Philosophers of another class maintain, that the mind acts independently of all organization, and that the senses, instead of being instruments of action, are rather impediments to it. They complain much of the illusions of the five senses; and despise all