[56] In the Cupid, the form of the head is godlike. The hair not only curls with all the vigor of early years, but, with perfect knowledge of nature's tendency, is bent into a ridge along the middle of the upper head. The brow, full, open, and charmingly rounded, is the evident throne of young observation, and it flows with such beauty into the parts behind, as if it actually _said_ its purpose was to fling its observations back on thought and will. Its beginnings at the eyebrows display exquisite knowledge: the bony ridge is admirably shown to be yet unformed; and while its outer extremity forms but the orbital convexity, or shell for the globe of the eye, the inner extremity of the eyebrow is with infinite art drawn over soft and hollow space, as if the few hairs that composed it made there its only convexity. In short, in every part of the face, fine and faint as is every youthful feature, no detail is lost; and this, added to the pointed chin and upper lip, declare the purpose of the little god. [57] Appendix K. [58] I speak not of paint here. It is now used only by meretricious persons and by those harridans of higher rank who resemble them in every respect, except that the former are ashamed of their profession, and the latter advertise it. [59] Combe's Phrenology. [60] Physiologie des Temperamens on Constitutions. Paris, 1826. [61] This doctrine is revived, _Dict. des Sciences med._ Delpit and Reydellet. [62] Dictionnaire des Sciences Méd. t. xxxviii. p. 263. Transcriber's Notes: Passages in italics are indicated by _italics_. The misprint "and and" has been corrected to "and". Footnote 6 appears on page 34; however, it has no corresponding marker.