If one wanted more proof of that, there was his face, still young-looking and beardless; made for expression, and sensitive to every change of emotion. A long head, with enormous capacity of brain, veiled by thick wavy hair, not affectedly lengthy but as abundant as ever, and darkened into a deep brown, without a trace of grey; and short, light whiskers growing high over his cheeks. A forehead not on the model of the heroic type, but as if the sculptor had heaped his clay in handfuls over the eyebrows, and then heaped more. A big nose, aquiline, and broad at the base, with great thoroughbred nostrils and the "septum" between them thin and deeply depressed; and there was a turn down at the corners of the mouth, and a breadth of lower lip, that reminded one of his Verona griffin, half eagle, half lion; Scotch in original type, and suggesting a side to his character not all milk and roses. And under shaggy eyebrows, ever so far behind, the fieriest blue eyes, that changed with changing expression, from grave to gay, from lively to severe; that riveted you, magnetised you, seemed to look through you and read your soul; and indeed, when they lighted on you, you felt you had a soul of a sort. What they really saw is a mystery. Some who had not persuaded them to see as others see, maintained that they only saw what they looked for; others, who had successfully deceived them, that they saw nothing. No doubt they might be deceived; but I know now that they often took far shrewder measurements of men--I do not say of women--than anybody suspected. For the Inaugural Course, he was, so to speak, on his best behaviour, guarding against too hasty expression of individuality. He read careful orations, stating his maturest views on the general theory of art, in picked language, suited to the academic position. The little volume is not discursive or entertaining, like "Modern Painters," and contains no pictures either with pen or pencil; but it is crammed full of thought, and of the results of thought.