into some heresy, answered, “What the Church believes.” “What does the Church believe?” persisted his Satanic enemy. “What I believe,” replied the cautious man. Again, the devil, “And what do you believe?” “What the Church believes.” Whereupon the devil, being unable to convict him of lax Churchism, left him to the mercy of the Pope, who, he knew, would deal with him after his—gifts for _pious uses_. If the pencil of the Artist be the adopted vehicle of thought, the natural differences of character will be equally betrayed. Thus the Romano-Cogitative Michael Angelo exhibited the thoughtful energy of his mind in a fervid and exaggerated opinion of the fiercest passions, and delighted in representations—not always the most refined—of scenes from which most minds revolt, to which he even added a horror all his own. The exaggerated action and muscular development of Michael Angelo’s figures, the gigantic scale on which he preferred to draw them, and the stupendous works which he unhesitatingly undertook, betray an energetic and coarse mind, quite accordant with his Roman profile. The Greek-Nosed Raffaelle, on the other hand, paid exclusive attention to beauty of form, and the pourtraying of the gentler and more amiable sentiments, especially of the female character. He was never betrayed into any extravagancies of action or passion; but delighted to dwell on the peaceful holiness and gentle sentiment of the Virgin Mother and the Infant Jesus, or the graceful virtues of the female saints. [Illustration: HOBBES. ] The major part of our illustrations being taken from purely literary men, present Greco-Cogitative Noses. It is not our intention to descant at length on persons whose works are well known, by name at least, to every one, and whose lives were, for the most part, passed in the usual monotonous tenour of those of literary men; but Bacon may be referred to as an important corroborative instance of the shrewd, wily measures by which the astute Greek prefers to further his ambition. Bacon as a man presents such a lamentable contrast to Bacon as a philosopher, and the wretched underhand means by which he attained eminence are so well known, and so painful to dwell upon, that we refrain from doing more than referring the reader to the facts for comparison with his profile. Wretchedly inconsistent as his character appears, it is not inconsistent with his Nose; and, perhaps, what are termed his inconsistencies, are only a proof that the intellectual and moral powers are distinct, and that the most profuse development of the former, cannot compensate for a deficiency of the latter.