one respect, a remarkable analogy between the faces and the
minds of men. No two faces are alike; and yet very few faces deviate
very widely from the common standard. Among the eighteen hundred
thousand human beings who inhabit London, there is not one who could be
taken by his acquaintance for another; yet we may walk from Paddington
to Mile End without seeing one person in whom any feature is so
overcharged that we turn round to stare at it. An infinite number of
varieties lies between limits which are not very far asunder. The
specimens which pass those limits on either side form a very small
minority.

It is the same with the characters of men. Here, too, the variety passes
all enumeration. But the cases in which the deviation from the common
standard is striking and grotesque are very few. In one mind avarice
predominates; in another, pride; in a third, love of pleasure; just as
in one countenance the nose is the most marked feature, while in others
the chief expression lies in the brow, or in the lines of the mouth. But
there are very few countenances in which nose, brow, and mouth do not
contribute, though in unequal degrees, to the general effect; and so
there are very few characters in which one overgrown propensity makes
all others utterly insignificant.

It is evident that a portrait painter, who was able only to represent
faces and figures such as those which we pay money to see at fairs,
would not, however spirited his execution might be, take rank among the
highest artists. He must always be placed below those who have skill to
seize peculiarities which do not amount to deformity. The slighter those
peculiarities, the greater is the merit of the limner who can catch them
and transfer them to his canvas. To paint Daniel Lambert or the living
skeleton, the pig-faced lady or the Siamese twins, so that nobody can
mistake them, is an exploit within the reach of a sign-painter. A
third-rate artist might give us the squint of Wilkes, and the depressed
nose and protuberant cheeks of Gibbon. It would require a much higher
degree of skill to paint two such men as Mr. Canning and Sir Thomas
Lawrence, so that nobody who had ever seen them could for a moment
hesitate to assign each picture to its original. Here the mere
caricaturist would be quite at fault. He would find in neither face
anything on which he could lay hold for the purpose of making a
distinction. Two ample bald foreheads, two regular profiles, two ful