The Third Edition of a Catechism of Phrenology, published at Glasgow,
induces us to pick out a few of the author's _facts_, and we accordingly
select the developements of the Feelings and Faculties. Thus, of
Amativeness, the organs are very large in the casts of Mitchell, Dean,
and Raphael. In Dr. Hette, very small.
Philoprogenitiveness, or love of children--the Hindoos, Negroes, and
Charibs.
Combativeness--The Charibs, King Robert Bruce, General Wurmser, David
Haggart, and generally in those who have murdered from the impulse of
the moment.
Destructiveness--In the heads of Dean, Thurtell, King Robert Bruce,
Bellingham, in cool and deliberate murderers, and in persons who delight
in cruelty, where the organ is large; and, in general, in the Hindoos,
small.
Combinativeness--In Raphael, Michael Angelo, Brunel, Haydon, and
Herschel, where it is very fully developed; the New Hollanders, have it
small. Being indispensable to the talent for works of art of every
description, it is found large in all those painters, sculptors,
mechanicians, and architects, who have distinguished themselves in their
particular departments.
Love of Approbation--In King Robert Bruce, Dr. Hette, Clara Fisher, and
the American Indians, where it is large. Such likewise is uniformly the
case in bashful individuals; this disposition arises in a great measure
from a fear of incurring disapprobation.
Cautiousness--In the Hindoos, large; in Bellingham, moderate. Robert
Bruce and Hannibal were remarkable for valour, while they at the same
time, possessed cautiousness in a high degree.
Benevolence--In Henri Quatre, where it is large. In Bellingham,
Griffiths, and the Charibs, very small. In King Robert Bruce, moderate.
Veneration--An individual may have this organ very large, without
possessing a high degree of religious feeling. Voltaire, in whom the
organ was extraordinarily large, affords a striking example of this. He
embraced every opportunity of turning religion into ridicule; but still,
in him, we find the strong manifestation of the faculty, in the high and
almost servile degree of deference which he paid to superiors in rank
and authority. In Raphael, Bruce, and the Negroes, this organ is large.
In Dr. Hette, small.
Firmness--In King Robert Bruce and the American Indians, large.
Hope--In Raphael, large; in Dr. Hette, small.
Ideality--In Milton, Shakspeare, Raphael, Wordsworth, Haydon, and Byron,
large. In Mr. Hume and Bellingham, small.
Wit--According to Dr. Spurzheim, the formation of this faculty is to
give rise to the feeling of the ludicrous, creating, when strong, an
almost irresistible disposition to view every object in that light,
while Dr. Gall defines it to be the predominant intellectual feature in
Rabelais, Cervantes, Boileau, Swift, Sterne, and Voltaire. In Sterne,
Voltaire, and Henri Quatre, this organ is large. In Sir J.E. Smith, Mr.
Hume, and the Hindoos, small.
Imitation--In Raphael, Clara Fisher, and uniformly in those artists and
players who have distinguished themselves for their imitative powers,
large.
Individuality--In the French, generally large; moderate in the English,
and in the Scotch, small.
Form--To judge of form in general. The function of this faculty is
essential to those engaged in the imitative arts: it enables the painter
to distinguish the different casts of features and countenances in
general; and upon the same principle, is of the most essential service
to the mineralogist. The organ is found large in King George III., and
in the Chinese sculls.
Weight or resistance, essential to a genius for mechanics, enabling the
individual to judge of momentum and resistance in that branch of
science. The organ is large in Brunel and Sir Isaac Newton.
Colouring--remarkably developed in the portraits of Reubens, Rembrandt,
Titian, Salvator Rosa, and Claude Lorraine, where its large size is
indicated by the arched appearance of the eyebrow in its situation; and
in the masks of the late Sir Henry Raeburn, Wilkie, and Haydon, by the
projection forwards of the eyebrow at that part.
Locality--or the power of remembering localities, in Kepler, Galileo,
Newton, Tycho, Descartes, Sir Walter Scott, and Captain Cook, is large.
Number, or a talent for calculation--in the portraits of Euler, Kepler,
Laplace, Gassendi, &c., and in George Bidder, Humboldt, and Colburn,
large.
Tune--In Gluck, where it has a pyramidal form. In Mozart, Viotti,
Turnsteg, Dussek, and Crescenti, where it is distinguished by a fullness
and roundness of the lateral parts of the forehead.
Language--in Sir J.E. Smith, Humboldt, and Voltaire, large.
Comparison--in Pitt, Roscoe, Raphael, Burke, John Bunyan, and Mr. Hume.
Casualty, or the connexion between cause and effect--remarkable in the
portraits and busts of Bacon, Kant, Locke, Voltaire, Dr. Thomas Brown;
and in the masks of Haydon, Brunel, Burke, Franklin, and Wilkie, where
it is largely developed. In Pitt, and Sir J.E. Smith, it is moderate,
and in the Charibs and New Hollanders, very deficient.
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