should be largely developed that he may have the power to comprehend all that goes to make up his impersonations. Mental Imitation and Human Nature are required in order that he may comprehend the motives and characteristics of various sorts of persons, and then be able to imitate their language, dress, manners, and gestures. Ideality or Imagination is necessary, also a certain degree of Sublimity. Constructiveness is also most essential, for upon it the actor must depend for many of his ideas in regard to the plan and scope of a play, as well as to assist him in costuming, etc. A great deal of Self-will must be had in order to hold a character strongly through the long acts of a play, and also to assist the spontaneous outbursts of passion which many plays require. A fair amount of Credenciveness is needed to comprehend and interpret the awful and wonderful aspects of human nature. Form and Size assist in many ways: they aid verbal memory, also the memory of gestures, attitudes, and the draping and arrangement of the costume, the hair, etc. Locality is a prime necessity; Weight, also, to assist in the pitch of the voice and the force of the intonations and expression.

Language, most copious, is a talent of high importance to the player. Music and Time must be had, while Artistic Judgment and Intuition must be well developed to enable him to "divine" and express the fullness and entirety of those diverse characters which he is called upon to impersonate.

This analysis shows how many talents are requisite to the mental and bodily make-up of a first-class comedian or comedienne. Many comedians exhibit talents of a high order outside of the dramatic profession, as in the several arts, literature, sculpture, and even in science. Joseph Jefferson, whose portrait is herewith given, possesses literary ability of a high order. Henry Edwards, another noted comedian, has achieved success as a naturalist and author. Many of the talents useful to a player are the same that are required for literary pursuits, such, for example, as Ideality, Analysis, Mental Imitation, Human Nature, Constructiveness, Form, Size, Verbal Memory, Language, and Intuition. Most of these are the faculties which the sculptor and painter exhibit in their vocations.

Fine manners, wit, and all sorts of accomplishments are useful to the player, and he will do wisely and add greatly to his success if he pursue the study of them industriously. He must study music, dancing, elocution, fencing, the use and nature of cosmetics, and the arts of dress, with a knowledge of historic costuming, if he would excel. All these graces, added to a natural qualification for this branch of art, should bring wealth and fame.

THE SYSTEMS AND FACULTIES ESSENTIAL TO A SOCIETY BELLE.

Beauty is not always one of the requirements of a popular society lady, but she must possess tact, charming manners, certain accomplishments, amiability (or its counterfeit, vivacity), and style in dress, manners, and bearing. She must be au fait with the existing customs of the society in which she mingles. If to these qualities or a part of them she add beauty, she will become a celebrity. In this rank we may place the celebrated Lady Sidney Morgan, Madame de Pompadour, the Countess of Blessington, Madame de Staël, and Madame Recamier, all of whom are renowned for their success as leaders of the most brilliant society of their era.

The art of conversation of the kind suited to the general mind must be one of the talents of a society belle; she must know how to avoid subjects likely to wound or offend; she must be able to talk of matters light and pleasing or original and interesting; she must have the capacity for remembering the names, faces, and position or rank of persons and where she has met them; she must exhibit a kindly interest in the affairs and welfare of her associates, and must exercise great discrimination in the mingling of her guests.

She should be kind to the needy and charitable in overlooking the foibles of her associates; she should cultivate tact and all accomplishments; she should possess a fund of general information upon art, literature, music, the opera, history, and the drama; she should be a patroness of charities and busy in church affairs; she should seek the acquaintance of all eminent in literature and influential in politics and in society; she should cultivate a memory for faces, names of persons, and the localities from whence they came, and remember where she has met them.

The elegant figure of Madame Recamier, one of the most. amiable and beautiful women of the Imperial Court of France, is a specimen of a most brilliant and successful society belle.

THE SYSTEMS AND FACULTIES NECESSARY FOR AN OPERA-SINGER.

Opera-singers, both male and female, require, first, great good health; second, a strong and symmetrical physique. The muscular and nervous systems should be supreme, with sufficient of the brain system to aid the intelligent rendering of character. The thoracic system should be one of the superior systems, and the abdominal powers strongly developed; particularly should the diaphragm be powerful. Among the great opera-singers we find no wasp-waisted subjects; hence Nature has free play, and these

song-birds are able to give forth the most spontaneous, sonorous, mellifluous, and prolonged efforts. The greatest of lyric artists,

FRANCE.)

This engraving is taken from the lovely painting by David, which now adorns the Gallery of the Louvre at Paris. It is a representation of one of the most beautiful women of modern times. Her beauty was equaled by her elegant manners, kindness of heart, and equable disposition. Could Michael Angelo have seen this charming creature he would have dedicated his celebrated line to her.-"The might of one fair face sublimes my love." In this subject the brain and nervous system is supreme; the muscular powers rank next and are of the finest quality. The lovely oval of the jaw and chin and the rounded contours of the arms and joints reveal the presence of the muscular system. The face has an expression of amiability, vivacity, and elegance. The entire countenance proves the supremacy of the aesthetic mind. The signs for Conscience and Firmness are normal. Benevolence, Hospitality, Approbation, Friendship, Love of Young, and Amativeness are well defined. The upper lip is short and curved outwardly.-another artistic indication. The nose is long and straight, the tip developed at the signs for Ideality, Sublimity, Mental Imitation, and Constructiveness. Veneration and Self-will are well represented: so, also, are Form, Size, Observation, Language, and Color. The forehead discloses Memory and Artistic Reason and Judgment. The eyes are curved and express Agreeability. The attitude is expressive of the grace, freedom, simplicity, and abandon of childhood, and the countenance is sparkling and intelligent."

such as Grisi, Persiani, Patti, Nillson, Gerster, Frau Materna, and others have a beautifully developed muscular physique, expressive

ace, large bright eyes, arched brows, curved jaw, and other muscular signs.

The noble figure and beautiful face of Grisi fills the mind of the physiognomist with enthusiasm. Not only does the beauty of the face arouse one's feelings, but the sight of so grand a bodily development in a woman affords the highest satisfaction. The attitude of the body, the form of the arms and shape of the hands, the development of the thorax and shoulders, the poise of the head, all tell us of a regal woman. The rounded outlines and presence of curves everywhere stamp it as an artistic mind. Quality, color, proportion, and harmonious development all conspire in this glorious organism to produce perfection. The chin and lower jaw are curved, disclosing dramatic powers. The lips are beautifully molded and indicate vocal capacity; the upper lip announces Amativeness, Modesty, Love of Young, Dignity, and Independence. The nose is straight and high, and has all the signs of artistic originality; the signs for Analysis, Mental Imitation, Human Nature, Ideality, Sublimity, Construction, Veneration, Executiveness, and Self-will are conspicuous. The eyes are dark and express fluency. The interciliary space is artistic; the brows are finely curved and disclose æsthetic tastes. The signs for Form, Size, Observation, Memory of Events, and Artistic Reason are all displayed. The length from the tip of the nose to the point of the chin is quite marked; the cheeks and lips are full and altogether indicate musical talent The color of the hair is black, thus affording the fervor and intensity of feeling necessary for the expression of the grand dramatic characters which she portrayed so magnificently upon the lyric stage. The whole expression is one of kindliness, sympathy, and artistic genius.

The vegetative system must have a good representation in this class, for the domestic sentiments assist emotion, and emotion is what the true artist must portray. Many of them become very fat,-Alboni and Parepa Rosa, for example.

They make loving wives and mothers and warm friends. In disposition they are social and domestic, and have all of the artistic love of color, form, display, and sensation, and exhibit the most sensuous tastes. They must possess large vocal ability, Hope. Mental Imitation, Ideality, Sublimity (for the tragic rôles), Human Nature, Constructiveness, Self-will, Form, Size, Music, Time, and Intuition.

Herewith I present the magnificent figure of Giulia Grisi, one of the most gifted and beautiful of lyric artists.

THE SYSTEMS AND FACULTIES REQUISITE FOR A MUSICAL COMPOSER.

Musical composers are of many diverse combinations of systems and faculties. It is this diversity of traits which produces such great variety of style in music. The combination of faculties which could produce the solemn and magnificent "Stabat Mater," of Rossini, for example, would be quite unlike that which would compose the lightsome strains of the "Orphee aux Enfers," or "La Belle Helene," of Offenbach. Thus we see that as great variety and diversity of character and mental and bodily endowments are required for the several sorts of musical composers as are needed to express the varied kinds of literature or art. So true it is that man is competent only to express in his works those principles which are the ruling ones in his own organism.

The musical reader will recognize these distinctions in the individuality of musical composers by the entire dissimilarity of their productions; and those who are skilled in music recognize the particular "style" of each composer as it is played or sung. Although he may never have heard the composition in question, he recognizes it as he does the personal appearance of the several composers, viz., by the peculiarities of their facial features; by their voice, their walk, their attitude and gestures; for the music of each individual is as markedly diverse as are their bodily and mental structures.

Let the student place before him the portraits of a number of musical maestros who are very differently constituted, and then, after making a physiognomical delineation of their character, let him listen to their several compositions, and he will become convinced that man is best capable of reproducing in his works the principles which are the more strongly represented within him.