The lines G G and K K also determine the length of the joinings of the ear to the head. The lines L L and M M determine the vertical width of the mouth and lips when at perfect repose, and the line N N the superior edge of the chin. Thus simply are the features arranged and proportioned on the facial surface. It must, however, be borne in mind, that in treating simply of the æsthetic beauty of the human head and countenance, we have only to do with the external appearance. In this research, therefore, the system of Dr Camper, Dr Owen, and others, whose investigations were more of a physiological than an æsthetic character, can be of little service; because, according to that system, the facial angle is determined by drawing a line tangential to the exterior margin of the sockets of the front teeth of the upper jaw, and the most prominent part of the forehead. Now, as these sockets are, when the skull is naturally clothed, and the features in repose, entirely concealed by the upper lip, we must take the prominent part of it, instead of the sockets under it, in order to determine properly this distinguishing mark of humanity. And I believe it will be found, that when the head is properly poised, the nearer the angle which this line makes with the horizontal approaches 90°, the more symmetrically beautiful will be the general arrangement of the parts (see line _y z_, figure 3, Plate IX.). THE SCIENCE OF BEAUTY, AS DEVELOPED IN THE FORM OF THE HUMAN FIGURE. The manner in which this science is developed in the symmetrical proportions of the entire human figure, is as remarkable for its simplicity as it has been shewn to be in those of the head and countenance. Having gone into very full details, and given ample illustration in two former works[19] upon this subject, I may here confine myself to the illustration of one description of figure, and to a reiteration of some facts stated in these works. These facts are, _1st_, That on a given line the human figure is developed, as to its principal points, entirely by lines drawn either from the extremities of this line, or from some obvious or determined localities. _2d_, That the angles which these lines make with the given line, are all simple sub-multiples of some given fundamental angle, or bear to it a proportion expressible under the most simple relations, such as those which constitute the scale of music. _3d_, That the contour is resolved into a series of ellipses of the same simple angles. And, _4th_, That these ellipses, like the lines, are inclined to the first given line by angles which are simple sub-multiples of the given fundamental angle. From which four facts, and agreeably to the hypothesis I have adopted, it results as a natural consequence that the only effort which the mind exercises through the eye, in order to put itself in possession of the data for forming its judgment, is this, that it compares the angles about a point, and thereby