The line of Vandycke is balanced between Flemish corpulence and English slenderness. Sebastian Bourdon, sublime in his conceptions, filled classic ground and eastern vests with local limbs and Gallic actors. Poussin renounced his national character to follow the antique; but could not separate the spirit from the stone. 152. The imitator seldom mounts to the investigation of the principles that formed his model; the copier probably never. 153. Many beauties in art come by accident, that are preserved by choice. _Coroll._--Neither the froth formed on the mouth of Jalysus' hound by a lucky dash from the sponge of Protogenes, nor the modern experiments of extracting composition from an ink-splashed wall, are relatives of the beauties alluded to in this aphorism. 154. The praise due to a work, reflects not always on its master; and superiority may beam athwart the blemishes that we despise or pity; some, says Milton, praised the work and some the master: would you prefer him who is able to finish the image which he was unable to conceive, to its inventor? 155. It is the privilege of Nature alone to be equal. Man is the slave of a part; the most equal artist is only the first in the list of mediocrity. 156. He who seeks the grand, will find it in a trifle: but some seem made to find it only there. Rösel saw man like an insect, and insects as Michael Angelo men. 157. Physiognomy teaches what is homogeneous and what is heterogeneous in forms. 158. The solid parts of the body are the base of physiognomy, the muscular that of pathognomy; the former contemplates the animal at rest, this its action. 159. Pathognomy allots expression to character. 160. Those who allow physiognomy to regulate the great outlines of character, and reject its minute discriminations, admit a language and reject its elements. 161. The difficulty of physiognomy is to separate the essence from accident, growth from excrescence. 162. He who aims at the sublime, consults the classes assigned to character by physiognomy, not its anatomy of individuals; the oak in its full majesty, and not the thwarted pollard. 163. None ever escaped from himself by crossing seas; none ever peopled a barren fancy and a heart of ice with images or sympathies by excursions into the deserts of mythology or allegory. 164. The principles of allegory and votive composition are the same; they unite with equal right the most distant periods of time and the most opposite modes of society: both surround a real being, or allude to a real act, with symbols by long general consent adopted, as expressive of the qualities, motives, and circumstances that distinguished or gave evidence to the person or the transaction. Such is the gallery of the Luxembourg, such the Attila of the Vatican. 165. Pure history rejects allegory.