Nor can _Physiognomy_, the companion of Anatomy, which from the measure of the _solid_ parts ascertains the precise proportion of the _moveable_, be dispensed with. There have been, perhaps there are, teachers of art, who, whilst they admit physiognomy in the mass, refuse to acknowledge it in detail, or in other words, who admit a language, and reject its elements: as if the whole harmony of every proportionate object did not consist in the correspondence of singly imperceptible, or seemingly insignificant elements, and would not become a deformed mass without them. Let the twelfth part of an inch be added to, or taken from, the space between the upper lip of the Apollo, and the God is lost. The want of this necessary qualification is one of the chief causes of MANNER, the capital blemish of Design, in contradistinction to Style: Style pervades and consults the subject, and co-ordinates its means to its demands; Manner subordinates the subject to its means. A Mannerist is the paltry epitomist of Nature's immense volume; a juggler, who pretends to mimic the infinite variety of her materials by the vain display of a few fragments of crockery. He produces, not indeed the monster which Horace recommends to the mirth of his friends, the offspring of grotesque fancy, and rejected with equal disdain or incredulity by the vulgar and refined, but others not less disgusting, though perhaps confined to a narrower circle of judges. Mannerists may be divided into three classes: 1st. Those who never consult Nature, but at second hand; only see her through the medium of some prescription, and fix her to the test of a peculiar form. 2ndly. Those who persevere to look for her or to place her on a spot where she cannot be found, some individual one or analogous models; and 3rdly. Those who, without ascending to the principle, content themselves with jumbling together an aggregate of style and model, tack deformity to beauty, and meanness to grandeur.