Knowing, as the reader now does, what constitutes the worth, the dignity, and the beauty, of the various organs, this statement tends to show the value of that standard of beauty which we owe to the Greeks. I proceed to illustrate it in regard to the FACE. The beauty of the human countenance is described by various writers, as including the beauty of form, in the various features of the face; the beauty of color, in the shades of the complexion; the beauty of character, in some distinctive and permanent relations; and the beauty of expression, in some immediate and temporary feeling. In regard to the form of the face, considered as a whole, the opening of the facial angle of Camper, in measuring geometrically the extent of the upper part of the head, marks the development of the brain or organ of thought, and shows the proportion which it bears to the middle and lower part of the face, or to the organs of sense and expression. This development of the upper part of the head contributes essentially to beauty, by giving to the whole head that pyriform appearance already described, by which in every view it is larger at the superior part, diminishes gradually as it descends, and terminates by the agreeable outline of the chin. In the most beautiful race of men, the facial angle extends to eighty-five degrees, acquiring an increase of ten degrees above the inferior varieties; the face is diminished; the eyes are better placed; the nose assumes a more elegant form; and all appearance of muzzle vanishes. In the Greek ideal head, the development presenting a facial angle of ninety degrees, confers the highest beauty of the form of the head, the majesty of the forehead, the position of the eyes upon a line which divides the face into two equal parts, the elegant projection of the nose, the absence of all tumidity of the lips.--But of that, in the sequel. In the face, generally, as observed by Winckelmann, beauty of form depends greatly upon the profile, and particularly on the line described by the forehead and nose, by the greater or less degree of the concavity or declivity of which, beauty is increased or diminished. The nearer the profile approaches to a straight line, the more majestic, and at the same time softer, does the countenance appear, the unity and simplicity of this line being, as in everything else, the cause of this grand, yet soft harmony. The face being the seat of several organs, each must be examined in its turn. Winckelmann observes, that "a large high FOREHEAD [an excess, in this respect] was regarded by the ancients as a deformity."--And "Arnobius says, that those women who had a high forehead, covered a part of it with a fillet." The reason of this will afterward be pointed out. The sense of TOUCH resides in all parts of the face, but especially in the lips. It is most perfect, however, at the tips of the fingers.