A main fact in the history of manners is the wonderful expressiveness of the human body. If it were made of glass, or of air, and the thoughts were written on steel tablets within, it could not publish more truly its meaning than now. Wise men read very sharply all your private history in your look and gait and behavior. The whole economy of nature is bent on expression. The tell-tale body is all tongues. Men are like Geneva watches with crystal faces which expose the whole movement. They carry the liquor of life flowing up and down in these beautiful bottles, and announcing to the curious how it is with them. The face and eyes reveal what the spirit is doing, how old it is, what aims it has. The eyes indicate the antiquity of the soul, or, through how many forms it has already ascended. It almost violates the proprieties, if we say above the breath here, what the confessing eyes do not hesitate to utter to every street passenger. Man cannot fix his eye on the sun, and so far seems imperfect. In Siberia, a late traveller found men who could see the satellites of Jupiter with their unarmed eye. In some respects the animals excel us. The birds have a longer sight, beside the advantage by their wings of a higher observatory. A cow can bid her calf by secret signal, probably of the eye, to run away, or to lie down and hide itself. The jockeys say of certain horses, that "they look over the whole ground." The outdoor life, and hunting, and labor, give equal vigor to the human eye. A farmer looks out at you as strong as the horse; his eye-beam is like the stroke of a staff. An eye can threaten like a loaded and levelled gun, or can insult like hissing or kicking; or, in its altered mood, by beams of kindness, it can make the heart dance with joy. The eye obeys exactly the action of the mind. When a thought strikes us, the eyes fix, and remain gazing at a distance; in enumerating the names of persons or of countries, as France, Germany, Spain, Turkey, the eyes wink at each new name. There is no nicety of learning sought by the mind, which the eyes do not vie in acquiring. "An artist," said Michel Angelo, "must have his measuring tools not in the hand, but in the eye;" and there is no end to the catalogue of its performances, whether in indolent vision, (that of health and beauty,) or in strained vision, (that of art and labor.)