colour of the same object with another? There may be different organs to receive different material or concrete impressions, but surely only the mind can abstract the different impressions of the same sense from each other. The _organ of space_ appears to me to answer to the look of wild, staring curiosity. All that is not accounted for in this way, either from general conformation or from physiognomical expression, is a heap of crude, capricious, unauthenticated trash. I select one paragraph out of this puzzling chaos, as a sample of what the reader must expect from the whole. ‘What then is the _special_ faculty of the organ of _individuality_ and its sphere of activity? Persons endowed with this faculty in a high degree are attentive to _all_ that happens around them; to every object, to every phenomenon, to every fact: _hence also to motions_. This faculty neither learns the qualities of objects, nor _the details_ of facts: it knows only their existence. The qualities of the objects, and the particularities of the facts, are known by the assistance of other organs. _Besides_, this faculty has knowledge of _all internal faculties, and acts upon them_. It wishes to know all by experience; consequently it puts every organ into action: it wishes to hear, see, smell, taste, and touch; _to know all arts and sciences_; it is fond of instruction, collects facts, and leads to practical knowledge.’ Page 430. In the next page he affirms that ‘crystallography is the result of the organ of form,’ and that we do not get the ideas of roughness and smoothness from the touch.—But I will end here, and turn to the amusing account of Dousterswivel in the ANTIQUARY![18] ESSAY XV ON EGOTISM It is mentioned in the Life of Salvator Rosa, that on the occasion of an altar-piece of his being exhibited at Rome, in the triumph of the moment, he compared himself to Michael Angelo, and spoke against Raphael, calling him _hard_, _dry_, &c. Both these were fatal symptoms for the ultimate success of the work: the picture was in fact afterwards severely censured, so as to cause him much uneasiness; and he passed a great part of his life in quarrelling with the world for admiring his landscapes, which were truly excellent, and for not admiring his historical pieces, which were full of defects. Salvator wanted self-knowledge, and that respect for others, which is both a cause and consequence of it. Like many more, he mistook the violent and irritable workings of self-will (in a wrong direction) for the impulse of genius, and his insensibility to the vast superiority of others for a proof of his equality with them.