In the fine arts, moreover, we have seen no less accurate predictions of future eminence. As the scholars of Rubens were playing and jesting with each other, in the absence of their master, one of them was accidentally thrown against a piece on which Rubens had just been working, and a considerable part of it was entirely disfigured. Another of the pupils set himself immediately to repair it, and completed the design before his master returned. Rubens, on reviewing his work, observed a change, and a difference that surprised and embarrassed him. At last, suspecting that some one had been busy, he demanded an explanation; adding, that the execution was in so masterly a manner, that he would pardon the impertinence on account of its merit. Encouraged by this declaration, the young artist confessed, and explained the whole, pleading, that his officiousness was merely to screen a comrade from his master’s anger. Rubens answered, “if any one of my scholars shall excel me, it will be yourself.” This pupil was the great Vandyck. Lavater, who revived physiognomy, has, unquestionably, brought it to great perfection. But it may justly be doubted whether he is not deceived in thinking that it may be taught like other sciences, and whether there is not much in his system that is whimsical and unfounded. Every man, however, has by nature, something of the science, and nothing is more common than to suspect the man who never looks his neighbour in the face. There is a degree of cunning in such characters, which is always dangerous, but by no means new. “There is a wicked man that hangeth down his head sadly; but inwardly he is full of deceit. Casting down his countenance, and making as if he heard not. A man may be known by his look, and one that hath understanding, by his countenance, when thou meetest him.”—In several of Lavater’s aphorisms, something like the following occurs: “A man’s attire, and excessive laughter, and gait, shew what he is.” APPARITIONS.