organ called Language. They possess a quickness and aptitude for picking up the characters of persons they meet without apparent effort or study. The dispositions and tendencies of others seem to fall upon such minds like shadows. Physiognomists are likewise generally well endowed with the organs of observant intellect. On this point it may be observed, that poets and novelists generally have the organ of Language large, and they manifest similar capacities with physiognomists in catching and depicting the nice shades of expression, by which the characters unfolded by them are distinguished.

The first-rate actor possesses large Language combined with large Imitation, the former being necessary to give him a knowledge of the natural language or expression of the feelings and sentiments he may be called upon to imitate. Kean (the elder) had the organ large, combined with large observant and reflective intellect and Imitation. Hence the key to his success as an actor. Hence the deep bursts of natural expression and the concentrated looks of intense emotion which characterized this great performer. He could call up not only the emotions required to be portrayed, but unfold them outwardly in all the richness of natural expression. Mrs. Siddons possessed the organ called Language very large, and although not very highly endowed either with sentiment or reflective intellect, was admittedly the most accomplished actress that has appeared on the British stage. The heads of John Kemble, Young, and Macready are distinguished for the organ of Language being largely developed, and are all fine examples of the manifestation of it in giving power of observing, and with Imitation of imitating natural expression. The organ is large in the portraits of Garrick, Miss O'Neil, and Cook, and in all the tragic performers distinguished for expression in the Garrick Club. The organ called Language is equally possessed and manifested by the comic actor, but only in combination with a different organization from that of the tragic or melo-dramatic performer. In the comic actor it unites more with Wit and the propensities, than with Ideality and the sentiments. Hence the grotesque representation of the propensities as exhibited by our best comic actors. I have been told by several performers in this department that they are in the habit of watching groups of persons in the streets belonging to the lowest walks of life, in order to catch the ludicrous expression of the various propensities of our nature, to enable them to unfold more effectively some characteristic piece of humour. Performers term this line of observation the study of dramatic effect. All comic

actors of distinguished merit are largely endowed with the organ of Language. It is large in the portraits of Munden, Yates, Liston, Knight, Emery, Matthews, and Meadows,—all in the London Garrick Club. I examined the head of the late Mr. Wrench, the comic performer, a few weeks before his death, and the organ of Language was very largely developed. The organ is large too in the portraits of Charles Kemble, Johnson, Power, and Farren, to be seen at the Garrick.

I have further observed that the organ called Language is large in the heads of all great musical composers and singers, which is sufficiently well accounted for, when we consider that music is nothing more than a generalized natural language of our emotions and intellectual perceptions. Hence different countries have different national airs characteristic of the national peculiarities. The music of a warlike nation is loud, bold, and boisterous, implying defiance in every note; while that of another, of a more peaceful character, is purely sentimental, being soft and pleasing, and calculated only to awaken the finer impulses of our nature. We sometimes too find warlike music blended with sentiment, as exemplified in that of the Highlands of Scotland, and likewise in a few Lowland airs, borrowed probably from the Highlands. The organ called Language as well as Time is indeed large in all eminent composers and musicians. In the portraits of Handel, whose soul teemed with expression, the organ is very large. It is large too in Mrs. Billington, Miss Stephens, Braham, Miss Kemble, and Mrs. Alfred Shaw, and in all singers possessed of the power of imparting expression. In the Garrick Club alone there are upwards of two hundred portraits of tragic and comic actors and singers with the organ of Language in the least well, and in most largely, developed. In the more distinguished performers it is larger than in those less distinguished.

All the great masters in painting, sculpture, and engraving, likewise possess the organ called Language largely developed. It is large in the portraits of Michael Angelo, Raphael, Titian, Rubens, Guido, Leonardo Da Vinci, Murillo, &c. It is not confined to figure or historical painters, but it is large too in landscape painters of the first class. It is large in the portraits of Salvator Rosa, Poussin, and Claude; likewise in those of the Dutch school, combined with a different organization from that which distinguishes the Italian. I have observed too in some living artists, whose heads, according to phrenological works, indicated high capabilities for painting, a decided lack of expression in their

pictures, which was uniformly accompanied with a deficiency in the organ of language. They possessed all the other organs of propensity, sentiment, and intellect, with Imitation well developed, calculated to impart excellence in the art; but the deficiency in this single faculty seemed to eclipse their power and mar the manifestation of their other faculties. All the great masters of modern times too are largely endowed with the organ called Language. Sir Joshua Reynolds, Richard Wilson, Gainsborough, Hogarth, Sir Henry Raeburn, and Sir Thomas Lawrence, were possessed of the organ large. It is even large in the head of George Moreland. It is large in the portraits of John Opie and Loutherbourg, in the Dulwich Gallery; likewise large in the portraits of Joseph Nollekens the sculptor, Benjamin West, and Sir David Wilkie, in the National Gallery; and in the busts and portraits of all the great masters in the arts which I have

seen.

But the possession of this organ in a high degree of development is not limited to those who have excelled in the fine arts, but appears equally to be possessed by persons who have excelled in totally different departments. The organ is large in the heads of all the discoverers in chemistry and natural philosophy. It is large in the heads of Black, Franklin, Lavorsier, Leslie, Sir Humphrey Davy, Faraday, Kemp, Reid, &c. The organ is large too in the heads of great architects; Bernini, Sir Christopher Wren, Batcheler, Sir John Soane, &c. It is large likewise in the heads of distinguished warriors, generals and admirals. It is large in the heads of Cromwell, Marlborough, Nelson, Wolfe, Washington, Buonaparte, Wellington, &c.

The organ called Language was first observed by Gall to be large in the heads of his companions at school, remarkable for their verbal memory, and hence he attributed to it the function of the memory of words. It was further observed to be large in the heads of poets and orators, and in persons distinguished for their knowledge of languages, and hence it was subsequently termed the organ of Language. This latter class of facts appears to have limited all future observation on the subject, and phrenologists seemed to rest satisfied that the primitive function of the organ was ascertained. The objection however that artificial language is not a class of natural perceptions at all, but mere arbitrary signs invented by man in imitation of some class of natural perceptions, at once suggests that the term language bears no reference to a simple element of mind, and that the manifestation of the power attributed to it must arise from some

faculty upon which we are dependent for a class of natural perceptions. This view of the enquiry is confirmed too by the fact that the organ called Language is large in the heads of persons not manifesting any striking power for acquiring languages, and evincing capacities totally different from each other, dependent in some measure on other portions of their organization. The organ called Language is accordingly large in the physiognomist, the tragic and comic actor, the musical composer, the singer, the painter, the sculptor, the chemist, the natural philosopher, the architect, the general, the admiral, &c., who have distinguished themselves as such, and many of whom were not remarkable for their knowledge of languages. These facts would appear then to be confirmatory of the view that our power of inventing artificial language is dependent upon some principle of the mind possessed in a high degree by these widely different classes of persons; in fact, that the element of mind in question is common to these various classes with individuals distinguished for their capacity of acquiring languages;-and the question therefore that occurs for solution is, in what does this elementary principle consist? At first view there is apparently no principle of mind common to these various classes, with the exception of the general powers of intellect possessed by all men who have evinced the possession of genius in any department of science; but a more accurate examination of the facts suggests an element common to the whole, and which distinguishes them from the rest of mankind.

The element of mind in question, may be described in a general way to be the capacity of taking cognizance of every species of outward manifestation, and hence of manifesting outwardly our feelings, thoughts, and opinions; and the metaphysical principle, upon which this is dependent, appears to me to resolve itself into the power possessed by the human mind of recognizing the externality of our perceptions, and consequently the existence of a material world beyond us. It must be kept in view, that the organs of Form, Size, Weight, Color, &c., merely originate their respective perceptions in the mind, and that of themselves there is no idea or relation of externality connected with them. They are just so many internal perceptions of the mind, that arise we know not how but for the faculty in question, which recognizes their externality, and imparts to us a knowledge of the distinction between the internal and external. The same faculty recognizes too the externality of the relations which are observed by us among external objects, although reflection upon our own consciousness informs

us that these relations are merely external operations of the mind. The situation of the organ behind the orbitar plate, and below the range of the perceptive faculties, of itself favors this view, although we found nothing upon this circumstance. It is sufficiently easy to perceive the influence which this faculty must exert over the manifestation of our whole physical, moral, and intellectual nature. Being deficient in the power of recognizing the externality of our perceptions, it is plain that these cannot exert the same influence upon our propensities and sentiments as when the faculty in question is largely developed. There would necessarily be a dulness in the particular class of emotion addressed, and a consequent feebleness in the manifestation of it. The faculties which originate our emotions might be large, and the observant faculties well developed, but without the power of recognizing vividly the externality of the latter, the former would be but imperfectly affected, and the manifestation consequently inadequate to the development of the propensities and sentiments possessed. On the contrary, when the idea of externality was distinct and vivid, the feelings and sentiments addressed by the particular perceptions would originate more lively and vigorous emotion, and consequently give occasion to greater energy of manifestation. Having manifested our feelings and thoughts outwardly, this same element of mind recognizes the external manifestation as connected with the internal, and thus a circle of relation between the internal and external is maintained, causing greater energy of feeling and manifestation than could otherwise exist. Hence it is that the organ called Language is large in all men who have evinced original powers of observation in chemistry or natural philosophy, or whose knowledge of the external enabled them to manifest outwardly plans of great extent, which they had previously conceived inwardly; the character of their respective manifestations being dependant upon the other elements of their nature. Hence the organ is large in those who have been distinguished in the various pursuits above-mentioned. It is a singular fact illustrative of the view stated, that all the idiots I have observed, possess the organ called Language largely developed, which is evidently a wise provision of nature to enable them to give outward manifestation to the feeble impulses with which they are endowed, and to fit them for the more easy recognition of the manifestations of others.

Let us suppose a case then illustrative of these views in their broadest aspect. Sir Christopher Wren, in the year 1664, say, conceived the plan of re-building St. Paul's Ca