The next observation, which the view of these skulls naturally suggests on the subject of character, as it relates to youth or age, is in reference to the distinguishing form of the child's head. We observe that the length of the skull in the child (fig. 3.) is from the forehead to the back of the head. This great length, compared with its depth, no doubt diminishes as the child advances in years; but still the largeness of the head, the projection of the back of the head, and the flatness of the forehead, as in the sketch page 181, must be attended to. In studying the form of the child's head we are naturally drawn to observe the difference between the natural head and the sculptures of Fiammingo, who has been justly celebrated for his designs of boys. In Fiammingo's works there is an obvious intention of presenting us with an ideal form instead of strictly copying nature. In the works of that artist the eye is too deep set for a boy, and there is a protuberance represented on the lower part of the forehead, which is quite peculiar to a more advanced age. The only character of the boy's head which he has kept true to nature is the largeness of the head compared with the face, the fulness of the cheeks, and the falling in of the mouth and chin. In exaggerating the natural peculiarities the artist has strictly imitated the antique. may remain a question, how far the principle which is so happy in its effect of heightening the beauty of the adult countenance is necessary or allowable in designing the forms of childhood. It ESSAY X. USES OF ANATOMY TO THE PAINTER-FAULTS INTO WHICH ARTISTS MAY BE BETRAYED IN STUDYING THE ANTIQUE; IN DRAWING FROM THE ACADEMY FIGURE-ANATOMY AS LEADING TO THE CRITERION OF TRUTH OF EXPRESSION AND OF CHARACTER. In the expression of emotion and passion, whether by gesture or in the countenance, there is sufficient uniformity to make it the subject of art and reasoning; and although we may not obtain at once a perfect rationale of this curious and interesting science, something we hope has been done in discovering the course of that influence by which the mind operates on the body. It is interesting in a very high degree to mark the traits of emotion, and compare them with the anatomical structure; and amidst the severer studies of anatomy, as connected with health and disease, I have been able, without departing too far from my professional pursuits and duties, to pass many pleasant hours in observing and investigating the anatomy of expression. In the prosecution of anatomy we never know to what our operations |