When this organ, which is that of the will, is high, and more especially when it is large, a determination and force seem to be given by it to the character, which render it the reverse of feminine. Having spoken here of the ready exercise of the will in woman, and its adaptation to her wish to please, it seems to be here that some circumstances dependant on these should be noticed. With this ready exercise of the will and desire to please, are evidently connected the light carelessness, the graceful ease, and the gentle softness, which add so much to the power of beauty. Hence, artists give to woman the bending form which associates so well with all her characteristics; for all feel with Hogarth that undulating lines are more or less formed in all movements executed with the intention of expressing sentiments of courtesy, respect, benevolence, or love. But it is grace that we must especially consider here--grace which directly emanates from this ready exercise of the will and desire to please, especially when combined with observing faculties so perfect and so perpetually active as those of woman. "Gracefulness," says Burke, "is an idea not very different from beauty; it consists in much the same thing.... Gracefulness is an idea belonging to posture and motion. In both these, to be graceful, it is requisite that there be no appearance of difficulty; there is required a small inflexion of the body; and a composure of the parts in such a manner, as not to encumber each other, nor to appear divided by sharp and sudden angles. In this ease, this roundness, this delicacy of attitude and motion, it is that all the magic of grace consists, and what is called '_je ne scais quoi_.'" It is not in these mere physical qualities, that all the magic of grace consists, which, in the state of Burke's knowledge, he might indeed well call "_je ne scais quoi_!" Let the reader hear what is said on this subject by a man who could look a little deeper than Burke, and who owed no fame to the little art of substituting a flash of words for depth of thought, and serving by it a venal purpose as little as the art itself.