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may possibly, in some cases, impress a distinguishing mark on the countenance; but thata certain cast of features constantly denotes certain passions, and that by contemplatingthe countenance we can infallibly discover also the mental qualities, is an hypothesisliable to so many exceptions, as render it impossible to establish a general and uniformsystem. Nevertheless, Mr. Lavater , like a true enthusiast, carries his theory muchfurther : for he not only pretends to discover the character and passions by the features,by the complexion, by the form of the head, and by the motion of the arms, but liealso draws some inferences of the same kind even from the hand-writing. And indeedhis system is formed upon such universal principles, that he applies the same rules to allanimated nature, extending them, not only to brutes, but even to insects. That the temperof a horse may be discovered by its countenance, will not, perhaps, strike you as absurd; butdid you ever hear before that any quality could be inferred from the physiognomy of abee, an ant, or a cockchafer ? While I give my opinion thus freely concerning Mr.Lavatcr’s notions, you will readily perceive that I am not one of those who are initiatedinto the mysteries of his art.
“ Mr. Lavater has not merely confined himself to physiognomy. He has composedsacred hymns and national songs, which are much esteemed for their simplicity. He hasalso given to the public numerous works on sacred subjects. I am concerned to add,that the ingenious author extends to religion the same enthusiasm which he has employedin his researches on physiognomy, and in his poetical compositions; the warmth of hisimagination hurries him on to adopt whatever is most fanciful and extraordinary; tooutstep the limits of sober reason; to be an advocate for the efficacy of absolute faith ;for inward illuminations; for supernatural visions.; and for the miraculous effectsof what is called animal magnetism in the cure of disorders.
“ The insinuating address of Mr. Lavater , the vivacity of his conversation, the amenityof his manners, together with the singularity and animation of his style, have contributedmore to diffuse his system and principles, than sound arguments or deep learning, whichare not to be found in his lively but desultory compositions.”
Another name specially deserving remembrance is that of John Jacob Bodmer, a nativeof Zurich . The romantic character of the district in which he passed his early yearsimpressed itself so forcibly on his memory, that in a letter written at the age of eighty,he paints it circumstantially and in lively colours. His father, finding that he had astrong reluctance to become a clergyman, and an equally strong love for literature, towhich he does not appear to have been very favourably disposed, sent him, in 1718,to Geneva, and afterwards to Lugano , to learn the manufacture of silk.
He now travelled to various parts of Italy , studied its poets, wrote sonnets, andconvinced his employers that he would never make a merchant. It was not long, there-fore, before he returned home, where he spent the chief portion of his time in literarypursuits. General literature was then at a very low ebb in Germany ; the learned wrotein Latin ; and the public were contented with spiritless, servile imitations of foreignmodels. Bodmer became ambitious of developing the natural genius and taste, and says,in writing to a friend, “ I should like to improve the German taste, if possibleandaccordingly, with Hagenbuch and Breitinger, he established a weekly periodical, the“ Painter of Manners,” a faithful imitation of “ the Spectator,” but, of course, ivithout itspolish.
Some years after, Bodmer and Breitinger published at Leipsio and Frankfort aremarkable work, “ On the influence and use of the Imagination towards the Improve-ment of Taste.” In this, they distinguished the then fashionable bombast from truesublimity, censured the prevalent artificial and laboured style, condemned the pedanticand ridiculous use of foreign words, and recommended the classics and English writers asmodels, instead of the affectations of the Italian poets, who were then in favour with the