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of enlivening carnation; his hair sooty black, stiff, and bushy. Or perhaps he might be represented as of a pale sickly yellow, with wiry red hair.

His burning eyen, whom bloody streaks did stain,
Stared full wide, and threw forth sparks of fire,
And more for rank dispight than for great pain
Shakt his long locks, colour'd like copper wire,
And bit his tawny beard to show his raging ire.

I do not mean here to trace the progress of the diseases of the mind, but merely to throw out some hints respecting the character of the outrageous maniac.

You see him lying in his cell regardless of every thing, with a death-like fixed gloom upon his countenance. When I When I say it is a death-like gloom, I mean a heaviness of the features without knitting of the brows or action of the muscles.

If you watch him in his paroxysm you may see the blood working to his head; his face acquires a darker red; he becomes restless; then rising from his couch he paces his cell and tugs his chains. Now his inflamed eye is fixed upon you, and his features lighten up into an inexpressible wildness and ferocity.

The error into which a painter would naturally fall, is to represent this expression by the swelling features of passion and the frowning eyebrow; but this would only convey the idea of passion,

not of madness.

Or he mistakes melancholia for madness. The theory upon which we are to proceed in attempting to convey this peculiar expression of ferocity amidst the utter wreck of the intellect, I conceive to be this, that the expression of mental energy should be avoided, and consequently all exertion of those muscles which are peculiarly indicative of sentiment. I conceive this to be consistent with nature, because I have observed (contrary to my expectation) that there was not that energy, that knitting of the brows, that indignant brooding and thoughtfulness in the face of madmen which is generally imagined to characterise their expression, and which we almost uniformly find given to them in painting. There is a vacancy in their laugh, and a want of meaning in their ferociousness.

To learn the character of the human countenance when devoid of expression, and reduced to the state of brutality, we must have recourse to the lower animals; and as I have already hinted, study their expression, their timidity, their watchfulness, their state of excitement, and their ferociousness. If we should transfer their expression to the human countenance, we should, as I conceive it, irresistibly convey the idea of madness, vacancy of mind, and mere animal passion.

But these discussions are only for the studies of the painter. The subject should be full in his mind, without its being for a

moment imagined that such humiliating or disgusting details are suited to the canvas. If he has to represent madness, it is with a moral to show the consequences of vice and the indulgence of passion.

There are, however, subjects allied to this, which belong both to sacred and to classical painting-" And when the unclean spirit had torn him, and cried with a loud voice, he came out of him”. "And when the devil had thrown him in the midst, he came out of him.”—By what aids is the painter to represent this demoniac phrensy; is it by the mere violence and extravagance of convulsion, or shall it be a creation from a mind learned as well as inventive?

There is a link of connexion betwixt all liberal professions. The painter should sometimes borrow from the physician. If he has to represent a priestess or sibyl, he will require something more than his imagination can supply; he will readily conceive that the figure is full of energy, the imagination at the moment exalted and pregnant, and the expression bold and poetical—so that things long past are painted in colours as if they stood before her. But he will have a more precise and true idea of what is to be depicted, if he reads the history of that melancholia which undoubtedly in early times has given the idea of one possessed with a spirit. A young woman is constitutionally pale and languid, and from this inanimate state, no show of affection or entreaty will draw her into

conversation with her family. But how changed is her condition when the blood mounts into her cheeks, and the eyes are dry and sparkling, the whole figure animated, and the voice possessed of new force, and with a tone so greatly altered that even a parent declares she does not know her child. How natural is then the belief that a spirit has entered into the inanimate body, and that this force of imagination and of language is not hers. The transition is easy; the priests assume the care of her, watch her ravings and give them meaning, until she is exhausted and sinks again into a death-like stupor or indifference.

tenance.

Successive attacks of this kind indelibly impress the counThe painter has to represent features powerful, but consistent with the maturity and perfection of feminine beauty. His genius will be evinced, in his bestowing upon the countenance that deep tone of interest which belongs to features inactive but not lost to feeling. In the dead and uniform paleness of the face he will show something of that imprint of deep and long suffering without human sympathy-throw around her the appropriate mantle—let the fine hair descend on her shoulders--and the picture will not require golden letters to announce her character, as we see in old paintings of the Sibyl.

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I have here introduced a sketch of hydrophobia, chiefly to show the respiratory organs in their utmost excess of expression. A delirium attends the latter hours of the patient, but the disease does not correspond to the term canine madness; it is an affection of the nerves of breathing and expression. The disease influences these nerves almost exclusively, and when the paroxysm returns, it is with a sense of suffocation, attended with a sudden convulsive heaving of the chest, catching of the muscles of breathing, and an inexpressible degree of agony in the countenance-horror and shuddering.

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