Steen, the drunken painter, usually painted drinking scenes. Hoffmann’s drawings ended in caricatures, his tales in extra-human extravagancies, his music in a senseless succession of sounds. Alfred de Musset saw in the ladies of Madrid, “_sous un col de cigne_ _Un sein vierge et doré comme la jeune vigne._” Murger admired women with green lips and yellow cheeks--no doubt through a species of colour-blindness, such as we have already met with among painters. XIII. Nearly all of these great men--for instance, Cardan, Lenau, Tasso, Socrates, Pascal--attached great importance to their dreams, which, no doubt, assumed a more vivid and powerful colouring than those of sane persons. XIV. Many presented voluminous but very irregular skulls; and, like madmen, have ended by serious alterations of the nervous centres. Pascal’s cerebral substance was harder than is normally the case, and the left lobe had suppurated. The brain of Rousseau revealed dropsy in the ventricles. Byron and Foscolo, great but eccentric geniuses, both showed premature ossification of the sutures. Schumann died of chronic meningitis and cerebral atrophy. XV. The insane characters of men of genius are scarcely ever found alone. Thus melancholia was associated and alternated with exaggerated self-esteem in Chopin, Comte, Tasso, Cardan, Schopenhauer; with alcoholic mania, impulsive insanity, or sexual perversion in Baudelaire and Rousseau; with erratic and alcoholic mania and that of self-esteem, in Gérard de Nerval. In Coleridge, the mania of morphia was associated with _folie du doute_.