“This will happen when a chair is employed expressly adapted to this operation, and constructed in such a manner as to give a steady support to the head and to the whole body. The shade ought to be reflected on fine paper, well oiled and very dry, which must be placed behind a glass, perfectly clear and polished, fixed in the back of the chair. Behind this glass the designer is seated; with one hand he lays hold of the frame, and with the other guides the pencil. The glass, which is set in a movable frame, may be raised or lowered at pleasure; both must slope at bottom, and this part of the frame ought firmly to rest on the shoulder of the person whose silhouette is going to be taken. “Toward the middle of the glass, is fixed a bar of wood or iron furnished with a cushion to serve as a support, and which the drawer directs as he pleases by means of a handle half an inch long. “Take the assistance of a solar microscope, and you will succeed still better in catching the outlines; the design also will be more correct.... “There are faces which will not allow of the most trifling alteration in the silhouette, or strengthen or weaken the outline but a single hair’s-breadth, and it is no longer the portrait you intended; it is one quite new, and of character essentially different.” In this work of silhouette-making and physiognomical study, Lavater wished the whole world to co-operate with him, as Goëthe testified. On a long journey down the Rhine, he had the portraits taken by his draughtsman, Schmoll, of a great number of important people. This served the secondary purpose of interesting his sitters in his work. He also asked artists to send him drawings for his purpose, and wrote much on the physiognomical character of the figures in the pictures of such artists as Raphael and Vandyck. Goëthe was intensely interested, and there is much of his correspondence extant on the subject. Enthusiastic at first, his zeal seems to have waned. On June 23rd, 1774, Lavater arrived at Goëthe’s house with Schmoll, and portraits were taken of the author of “The Sorrows of Werther,” and of his parents. A year later, in August, 1775, Goëthe writes, imploring Lavater, “I beg you will destroy the family picture of us; it is frightful. You do credit neither to yourself nor to us. Get my father cut out, and use him as a vignette, for he is good. I do entreat of you to do this; you can do what you like with my head too, but my mother must not be recorded like that.” An amusing sequel to this correspondence is that when the third volume of Lavater’s “Physiognomy” appeared containing her husband’s portrait alone, the councillor’s wife was extremely offended, and says that evidently the author did not think her face worthy to appear.