In persons of this temperament, the skin is of a yellowish brown, the hair black, the muscles marked, the form harshly expressed. "Bold in the conception of a project," says Richerand, "constant and indefatigable in its execution, it is among men of this temperament, that we find those who, in different ages, have governed the destinies of the world: full of courage, boldness, and activity, they have signalized themselves by great virtues or great crimes, and have been the terror or admiration of the universe. Such were Alexander, Julius Cesar, Brutus, Mahomet, Charles XII., the Czar Peter, Cromwell, Sixtus V., Cardinal Richelieu [and, he should have added, Bonaparte].... To attain to results of such importance, the profoundest dissimulation and the most obstinate constancy are equally necessary; and these are the most eminent qualities of the bilious." A still more compound temperament is the _melancholic_, in which disease is added to the bilious temperament, a derangement of the functions of the nervous system, and the diseased obstruction of some one of the organs of the abdomen, so that the nutritive functions are feebly or irregularly performed, the bowels sluggish, the pulse hard and contracted, the excretions difficult, the imagination gloomy, the disposition suspicious. In persons of this temperament, the skin is of a still deeper hue, and the look uneasy and gloomy. Rousseau and Tiberius are excellent examples of this temperament, as associated with genius and virtue in one, and with truly royal vice in the other. In women, this temperament is rarely so intense as in men. Of the TRANSITIONS of beauty, I have now to observe, that, though one species of beauty always characterizes the same individual during every stage of life, yet it is remarkable, that the young woman (whatever species of beauty predominates) has always a tendency to beauty of the locomotive system;--that the middle-aged woman has always a tendency to beauty of the nutritive system;--and that the woman of advanced age has always a tendency to beauty of the thinking system. Some women would seem, in the progress of life, to pass through all these systems (and the more perfect the whole organization, the more will this seem to be the case); but the accurate observer will always see the predominance of the same system. CHAPTER XVII. PROPORTION, CHARACTER, EXPRESSION, ETC. Winckelmann says: "I cannot imagine beauty without the PROPORTION which is always its foundation.--The drawing of the naked figure is founded upon the idea and the knowledge of beauty; and this idea consists partly in measures and relations, and partly in forms, the beauty of which was, as Cicero observes, the object of the first Grecian artists: the latter determine the figure; the former fix the proportions."