In striking contrast with the eyes is the good-natured but loose mouth, a faun-like expression upon its thick lips, which dismisses at once any fancy of the ascetic saint. The nose, too, is thick, strong and straight, with large nostrils. Even in the photograph you can feel that rich and open texture of the skin which radiates the joy of living from every pore. It is the face, above all, of a man, and the face of a man you would choose for a comrade; there would be no fear of his failing or misunderstanding you. But, withal, it is the face of a spirit wholly untamed, a wood-creature if you will, perhaps the face of Adam himself, looking out upon Eden with divine eyes of immortality. Remember, as you meet his gaze, that he knows the life of cities, and that the Fall lies behind him, not before. Perhaps that is why some who have looked at it describe it as the "Christ portrait"--for Jesus was the second Adam--but this is not the ascetic Christ of the Churches, the smile about the lips is too full for that. No, it is the face of a man responsive to all the appeals of the senses, a man who drives the full team of those wild horses of passion which tear in pieces less harmonious souls. This is a man who saw life whole, and had joy of it. He knew the life of the body on every side, save that of sickness, and of the mind on every side, save that of fear. His large, friendly, attractive personality was always feeding him with the materials of experience, and there was nothing in it all which he did not relish. The responses of his nature to each object and incident were joyous; for the responses of a harmonious nature are musical, whatever be the touch that rouses them. * * * * * A shrewd estimate of Whitman's character had been made five years before by a New York phrenologist, and its general accuracy seems to have vanquished the incredulity of its subject.[132] Mr. Fowler described him--I will translate the jargon of his pseudo-science into plain English--as capable of deep friendship and sympathy, with tendencies to stubbornness and self-esteem, and a strong feeling for the sublime. He thought that Whitman's danger lay in the direction of indolence and sensuality, "and a certain reckless swing of animal will". At the same time he recognised in him the quality of caution largely developed.