1881.] SIR FREDERICK LEIGHTON, R. A. force of character if necessary. The head is rather broad in Cautiousness and Secretiveness, rendering him somewhat reticent and conservative, yet not unpleasantly so. He has a high sense of character and propriety which, joined to his native reserve, sensitiveness, and refinement, keeps him at a distance, and prevents undue familiarity. Yet, when in the society of his own associates, he is social, companionable, and entertaining. He has an elastic, youthful state of mind, a keen sense of the humorous and ludicrous. 117 him in its pursuit, giving him every opportunity for its study, even so far as sending him to Rome, when but twelve years of age, where he received the instruction of Filippo Meli; and later he was permitted to enjoy the advantages of the Royal Academy of Berlin. His father, however, did not wish him to of Hiram Powers, to whom some of make art a profession, but the opinion Frederick's drawings were submitted, won the elder Leighton's consent to his son's devoting himself entirely to painting. He studied in the Academy at Frankfort-on-the-Main a good part of the years 1846, 1847, and 1848, and during the winImitation is large, giving him versatiliter of 1848-9, he completed his first pict ty of manner and ability to copy and imitate. The great objection to such high-toned development is that it puts a man on too high a plane, and disposes him to finish in too delicate a manner to be appreciated by ordinary minds; and when in society, all feel that he must be approached with caution, and any amount of acquaintance would not put both on a par with each other. The social nature as such does not appear to be particularly strong. He is not very warm, ardent, or emotional in his affections; the intellectual, moral, and æsthetic faculties largely predominating in his character. He enjoys social life more from the intellectual impulse and the distinction it gives, than from enjoyment of the social feelings themselves. He would be a courtly host and an agreeable guest, but his regret at leaving one company would be balanced by his anticipation of another about to be enjoyed. The President of the Royal Academy was born at Scarborough, on the 3d of December, 1830. He displayed a strong fondness for art when a mere boy, and his parents, wisely encouraged ure at Brussels. The following year he spent mainly in the Louvre copying, and attending the school for the study of living models. Next we find him back in Frankfort, a diligent pupil of an eminent master of Vienna, and there he continued at work until 1853. During this time he produced several pictures, among them "6 The Death of Brunellesco." From Frankfort young Leighton went to the great center of Italian art, where he had begun his pupilage, and renewed his studies of Roman genius with the enlarged views and quickened appreciation which ten years of almost constant obschools of European art had impressed servation and practice in the different his naturally quick mind. At Rome he spent the major part of three winter seasons in study and in painting a picture of "Cimabue," a subject representing the procession of Cimabue, his scholars and principal contemporaries of Florence ac- others of his works have been made known to the art-loving public through the steel-engraver and lithographer. In St. Michael's Church, Lyndhurst, there is a reredos on which is a group of the Five Foolish Virgins, executed by Mr. Leighton. The material used for this picture was a new mixture of wax, resin, oil of lavender, and copal, in which the pigments were ground. This medium had been tried by another artist with apparent success. Mr. Leighton concluded to employ it in his wall painting, and did so with excellent result. have made him at once famous at home, but the painter was in no hurry to return to England and bask in the sunshine of success. He made Paris his residence for four years, working as diligently as ever, and profiting by the counsel of eminent artists like Scheffer, Fleury, and others. Returning at length to England, he made London his residence, and in | 1856 exhibited at the Academy a picture entitled "The Triumph of Music," which represents Orpheus redeeming his wife from the power of Hades by his musical skill. Since that time Mr. Leighton has been a constant contributor to Mr. Leighton's pencil has been in reqthe Academy, his pictures always taking uisition for the illustration of popular high rank in the exhibitions from year to authors: among them "George Eliot's " year. As he is one of the most indus- tale of Florentine life, "Romola." In trious of English painters, to give a full 1864 he was elected an associate of the list of his productions would occupy a Royal Academy, and in 1869 became an large space here. Some of those, how- | Academician. On the death of Sir Franever, which are regarded as possessing cis Grant, President of the Royal Academore features of merit or interest than my, he was chosen his successor, and a others, are the following: "Sunny Hours," few days later received the honor of exhibited in 1859; "Capri-Paganos," 1861; knighthood. "The Star of Bethlehem," 1862; "In St. Mark's" and "Widow's Prayer," 1865; Roman Mother," 1867; "Ariadne abandoned by Theseus," 1868; 'Electra at the Tomb of Agamemnon," 1869; "Hercules Wrestling with Death for the Body of Alcestis," 1871; "Weaving the Wreath," -1873; "Moorish Garden: a Dream of Granada," and "Clytemnestra watching from the Battlements of Argos for the Beacon-fires which are to announce the return of Agamemnon," 1874; "Little Fatima," 1875; "Parlo," 1876; "The Music-Lesson," 1877. Most of these and 4 Mr. Leighton's work as an artist is particularly characterized by its high finish; no other English painter surpassing him, if indeed there be one who equals him, ir this respect. His Continental trainin may be said to have made him a faithfu. disciple of the attributes of style which are exhibited, for example, by the Venetian school of art. He is happy in the choice of subject, and the refinement of his treatment, which is not exceeded by Millais or Tadema, contributes powerfully to the elevation of English painting and English art in general. E HINTS TO THE ASPIRING. VERY month this JOURNAL comes to thousands of eager readers who search its pages for hints, encouragements, suggestions that will enable them to grow better. It has been the beneficent mission of the PHRENOLOGICAL JOURNAL to inspire hope in the minds of the aspiring and hemmed in; to point them a way up and out of the contracted circle in which circumstances, not of their creation or within their control, have placed them. Forty years or more ago, an expounder of Phrenology connected with the JOURNAL visited the district school of a rural county where we were a pupil, and examined the heads of many of the scholars. With much trepidation we permitted the oracular fingers to feel our 1881.] HINTS TO THE ASPIRING. "bumps," and a great many things were (one of the first Napoleon's great mar- 119 To illustrate: Just before the panic of '73 we made the acquaintance of a gentleman of high business position in the metropolis, through whose hands passed millions every year. During the panic he became bankrupt, and it was interesting to note the change this produced in him. The lines of the head remained unchanged, but those of the face soon lost their tension. The mouth, no longer accustomed to command, wore a bewildered and uncertain expression. The gait became unsteady and somewhat shuffling. After a year or two spent in vain attempts to regain a foothold in business, this man turned his attention to the law; after due preparation was admitted to the bar, and is now in good practice. The whole tone and expression of the man is changed. His face is full of purpose, of hope, of energy, his gait is no longer unsteady or shuffling, and the lines of his head have also visibly changed. The whole intellectual region shines with a new and fresh illumination. Every observing teacher must note how progress and special excellence in study affects his pupils; how it changes their attitudes, their movements, the whole expression not of their faces only, but of their entire bodies. Years ago we had in our classes a girl of fifteen who was a most eager and earnest student, but who from some physical defect could not attain the standard she aimed at. Seeing it was possible for her by perseverance to succeed, we gave her special attention and encouragement, and as indicia of her progress we noted how the expression of her hands as she held her book in class changed. At first they were unsteady, tremulous, irresolute; we were The careful observer of individuals sees character, not in the contour of the head alone, or in the lines and expressions of the face, but in every movement of the body, in its every attitude, whether it is in motion or at rest. The manner in which the hand grasps a tool or makes a gesture is a revelation of the soul. The gait shows what manner of person each man is; the shape and expression of the hand and the foot are as indicative of in-apprehensive continually that her book dividuality to those who can interpret the signs as the lines of the head and face. In fact, summing up the entire character, these must always be taken into account. The head and face show what a man ought to be, or what he might be; and these, taken with the indications furnished by other members of the body, show what he is, infallibly. would drop on the floor, though it never did. As she grew stronger and more hopeful, a steadiness of grasp appeared in her hands, a serenity shone from her eye, a confidence and surety of step were visible in her gait. As we noted these changes, we would say to her, when failure discouraged her: "You are certainly improving, Mary, I can see it every day; only keep on, and you'll realize all you desire." She did keep on, and became an ornament to her class. Now the point of this brief article is simply this: If you, reader, have not the kind of face you wish you had, go to work and make it what you want it to be. If your walk isn't what you would like to have it, go to work and make it what you want it to be. If you have ugly hands and feet, make them beautiful by putting a fine expression into them. Louis XIV., the personification of kingly majesty, was discovered, after he was dead, to be a short man. When he was alive he seemed of superior stature. A noble purpose makes ignoble features noble. A high motive lights up the dullest eye with a spark of celestial radiance. Unselfish devotion to worthy ends clothes native ugliness with beauty. "Soul is form and doth the body make." We all know faces quite destitute of that comeliness which comes from graceful form and exquisite coloring, which at times are absolutely beautiful because of their expression. When one of Socrates' pupils, angered at personal descriptions of his master, threatened vengeance to the libeler, Socrates checked him by saying, "It is all true that this adversary says, every bad passion has its index in my face, but I have conquered them all by philosophy." To his pupil the master's face was divine. ence. The poet sings of a time coming when "every shape and every face shall be heavenly and divine." This will be when intelligence, virtue, love, have driven out every base passion, purified all the dark corners of the soul, ennobled every faculty, and freed the soul from the fetters of ignorance, of passion, of sin. To some this time nearly approaches even in this world. Such bless us by their very presAn influence goes forth from them which tranquillizes, elevates, strengthens. By no mere chance are they conquerors over self. The peace which fills their hearts and lives is born of war, of long and bitter conflict with adverse powers; of patient cultivation of virtue, truth, probity; of the unquenchable devotion to all which is highest in our nature and in which we resemble the Pattern after which we were created. There is no one so hemmed in by narrow circumstance, so tampered by unfortunate antecedents, that he may not take heart and hope, and make his way from darkness up to light, from bondage to freedom, from ignorance to knowledge, from Satan to God. L. L. S. THE STUDIES IN COMPARATIVE PHRENOLOGY. CHAPTER VI. THE BRAIN OF QUADRUPEDS-STRUCTURE OF CEREBRUM AND CEREBELLUM. 'HE anatomy of the brain of those animals belonging to the principal classes of vertebrates appears to possess so much interest to physiologists and naturalists, that it has been for many years the chief department of investigation for a large number of the learned in Europe and America, and the conclusions which have been reached regarding the structure and functions of different parts are among the most valuable facts of science. In the last century Haller, Vicq d'Azir, Reil, and Serres were prominent among the promoters of such investigations, and though to-day their achievements may appear insignificant, they contributed greatly to awaken interest among scientists concerning the important bearing of comparative anatomy upon human physiology and pathology, and thus have led to the brilliant discoveries of observers and experimentalists like Müller, Magendie, Sir Chas. Bell, Flourens, J. L. Clarke, Volkmann, Bernard,Valentin, etc. 1881.] STUDIES IN COMPARATIVE PHRENOLOGY. As in the case of the constitution of the cranium, so in the case of the brain, we shall find remarkable differences when 121 species like the bee and ant, whose nervous structure, according to late observers, is remarkable for its complexity, and if all that is said of their intelligence be true, the law finds no exception in them. We shall see later on, when we treat of the five senses, that man is the most ad Fig. 204.-BRAIN OF THE HARE. UPPER SURFACE. we compare that of man with the brain of quadrupeds. The limits of this work will prevent us from going into minute detail, so that what shall be considered, will be the more important features of the cerebral physiology. It is a general law of nature that the more complicated an act or phenomenon is, the more complicated are the parts which associate in its production. Man vantageously endowed in them, although several of the animals exhibit a higher development in a special sense- -for instance, the elephant, the pig, the wolf, surpass him in smell; the eagle greatly surpasses him in sight, and the seal is far more remarkable than he for acuteness of hearing. All the vertebrates are provided like man with a nervous mass, inclosed in a bony case known as the cranium, and this mass presents also three distinct parts: cerebrum, cerebellum, and the medulla oblongata. As in man, there are the processes of communication be |