informed us, that the accuracy of their time exceeded that of any pupils he had ever taught. There was thus evident in these young persons an intense pleasure in accurate rhythmical movements.”

The fact that many Deaf and Dumb persons dance with pre cision, and much pleasure, is thus accounted for by Mr. Simpson. "That Time," says he, "may be marked with the utmost precision to the eye, is a fact familiar to every one who has seen a regi ment of soldiers go through the manual and platoon exercise, without a single word of command, by obeying the movements of the fugle-man, who gives the time to the eye; and who that has seen this done by a practised corps, is ignorant that there is great pleasure in witnessing the exquisitely timed movements of the exercise? Now, suppose a dancer, unaided by music, were to keep his eye on any person or object which was marking dancing-time to his sight, it cannot be doubted that he could dance to it. A deaf person could perform the manual exercise from the time given by the fugle-man; and just as easily could a deaf person dance with his eye upon the violin-bow, or the player's arm, or on the movement of the drumsticks.

"It is unnecessary to go farther, and show that the sense of touch may be the channel through which the organ of Time is excited, as well as the sense of hearing and sight. No one will dispute that a soldier could perform the manual exercise to a succession of taps on the shoulder; and to time, in the same way given, might a person dance.

"What we have said is confirmed by fact. It is well known that the deaf and dumb do dance, taking the time by the eye, either from the violin-player's arm, or at second hand, but instantaneously from the other dancers. We are acquainted with a young lady and gentleman in England, both of rank, who are deaf and dumb, and who, in addition to many other accomplishments, dance with the greatest grace and precision."-See also Phren. Journal, vol. iv. p. 509.

The origin of the notion of Time has greatly puzzled the metaphysicians. Lord Kames says, that we measure it by the number of ideas which pass in the mind; but experience contradicts this

supposition, for time never appears so short as when ideas are most numerous, and pass most rapidly through the mind. The idea, that it depends on a separate faculty and organ, on the other hand, is in harmony with this fact; for, as the organ of Time may remain inactive, while the others are vividly excited, it follows. that our perceptions of duration will, on such occasions, be indistinct, and time will, in consequence, appear brief.

The talent of using tenses properly in composition appears to depend on this organ. Probable.

32.- TUNE.

DR. GALL mentions, that a girl named Bianchi, of about five years of age, was presented to him, and he was asked for what talent she was most distinguished. He discovered in her no indication of an extraordinary memory; and the idea had not then occurred to him, that the talent for music could be recognised by the conformation of the head. Indeed, he had not at that time ascertained the different kinds of memory; but his friends nevertheless maintained, that the young Bianchi had an extraordinary memory for music, and, as he had not discovered that talent in her, they inferred that the doctrine which he taught of external signs for different kinds of memory was unfounded. This child repeated whatever she heard sung or played on the piano, and recollected whole concerts if she had heard them only twice. Dr. Gall asked if she learned every thing by heart with equal facility, but he was told that she possessed this astonishing memory in music alone. He concluded that a well marked difference exists between memory for music, and the other kinds of memory with which he was then acquainted, and that every kind has its distinct organ. He prosecuted his observations with fresh ardor, and at last discovered that the talent for music is connected with the organ now under discussion. He calls it, "Le sens des rapports des tons; ""expression," says Dr. Gall, "qui rattache la manière dont l'intellect du musicien met en œuvre les rapports des tons à la manière d'agir des sens en général."

The organ of Tune bears the same relation to the ears, which the organ of Color does to the eyes. The ear receives the impressions of sounds, and is agreeably or disagreeably affected by them; but the ear has no recollection of tones, nor does it judge of their relations; it does not perceive the harmonies of sound; and sounds, as well as colors, may be separately pleasing, though disagreeable in combination. A friend, in a letter written from India, formerly quoted, says, "Melody is the pleasure arising from successions of simple sounds suited to each other. Harmony is that arising from combined sounds, or from several striking the ear simultaneously, as in a band playing different parts. The former requires much less of the organ than the latter; and hence the Scotch with no great Tune are melodists, but nothing as musicians."

A correspondent of the Phrenological Journal, vol. viii. p. 216, mentions that he has a most singular tendency to compare one thing with another; for instance, if he hears the piano played, every sound seems to resemble a particular color, and so uniform is this, that he thinks he could almost make a gamut of colors. Some notes are yellow, others green, others blue, &c." In him Comparison is large, but neither Coloring nor Tune are so.

A great developement of the organ enlarges the lateral parts of the forehead; but its form varies according to the direction and form of the convolutions. Dr. Spurzheim observes, that, in Glück, and others, this organ had a pyramidal form; in Mozart, Viotti, Zumsteg, Dussek, Crescentini, and others, the external corners of the forehead are enlarged, but rounded. Great practice is necessary to be able to observe this organ successfully; and beginners should place together one person possessing a genius for music, and another who can scarcely distinguish between any two notes, and mark the difference of their heads. The superior developement of the former will be perceptible at a glance. The faculty gives the perception of melody; but this is only one ingredient in a genius for music. Time is requisite to a just perception of intervals, Ideality to give elevation and refinement, Secretiveness and Imitation to produce expression; and Constructiveness, Form, Weight, and Individuality, are requisite besides, to supply mechan

'cal expertness, necessary to successful performance. The largest organ of Tune will not enable its possessor to play successfully on the harp, if Weight be deficient ; the capacity of communicating to the string the precise vibratory impulse requisite to produce each particular note will then be wanting.

Dr. Gall mentions that he had examined the heads of the most celebrated musical performers and singers, such as Rosini, Catalani, &c. and found the organ uniformly large, and that the portraits and busts of Hayden, Glück, Mozart, &c. show it also largely developed. I have examined the heads of Madame Catalani, and many eminent private musicians, and found the organ confirmed in every instance. Dr. Gall remarks farther, that a great developement is not to be expected in every ordinary player on a musical instrument. With a moderate endowment, the fingers may be trained to expertness; but when the soul feels the inspiration of harmonious sounds, and the countenance expresses that voluptuous rapture which thrills through the frame of the real musician, a large organ will never be wanting.

"Il me parait," continues Dr. Gall, "que les hommes qui sont capables de déduire les lois de la composition dès lois des vibrations sonores, et des rapports des tons, et d'établir ainsi les principes les plus généraux de la musique, doivent être doués en même temps d'un organe des nombres très develloppé ; car l'exercise de ce degré du talent musical exige, sans contredit, beaucoup de calcul; aussi la circonvolution inférieure de l'organe musical, la plus large de toutes, se continue immédiatement dans l'organe des nombres. Céci explique pourquoi on peut être excellent musicien, et n'avoir pas le talent de la composition; être grand compositeur sans etre en meme temps grand musicien.”*

The heads of Italians and Germans in general are broader and fuller at the situation of this organ than those of Negroes, Otaheitians, Spaniards, Frenchmen and Englishmen, in general; and musical talent is more common in the former than the latter.

Mr. Scott has published in the Phrenological Journal, two

Sur les Fonctions du Cerveau, tome v. p. 120. + Vol. ii. pp. 170 and 556.

admirable Essays "on Music, and the different faculties which concur in producing it," which will be found highly deserving of attention. He conceives Tune to be the primitive faculty which distinguishes, 1st, That agreement of component vibrations in simple sounds, which constitutes them musical; 2d, That relation in separate sounds emitted together, which constitutes harmony; and, 3d, That relation in successive notes, which constitutes melody." He then considers the auxiliary faculties requisite to the practical musician (namely those before enumerated,) and points out the effect of each in conducing to musical genius. "Imitation," says he, "is necessary, particularly to the vocal performer, to enable him to imitate the sounds he hears, and to give, by his own vocal organs, a correct copy of the music which he wishes to execute. Accordingly, it is matter of observation, that all singers who sing naturally and easily, possess a considerable organ of Imitation." He then enters, at considerable length, into the subject of musical expression. "It seems to me," says he, "although I do not pretend to have made observations sufficiently accurate and numerous to prove the fact, that there is a correspondence in all cases between the voices of men and women, and their cerebral developement. The subject is a very curious one, and I mention it more for the purpose of inducing others to make observations, than from any value I attach to any observations of my own. Some facts there are, however, which are matters of common notoriety, and which go far to prove that there is at least a general correspondence; and further light might, doubtless, be thrown upon it, by more accurate and minute observers.

"In the first place, it is a general rule, that the heads of women are comparatively smaller than those of men, and that their voices are, in a corresponding degree, smaller and shriller than the male voice.

"Boys under puberty, who have smaller heads than full grown men, have voices small, shrill, and soft, like a woman's.

"The voices of children of both sexes, but particularly girls, are shriller than even the adult female voice.