of Byron. His name may exist in connexion with that of the poet, but his criticism will be read no more. The Decline of the Edinburgh Review may, therefore, be dated from the appearance of the Quarterly; and the cause ascribed to the general inability of the contributors to maintain the competition for public favour, with the learning and talent engaged in the rival Journal. But its fall is entirely owing to itself; the seeds of death were in it from the commencement. The powers of satire and of derision, which it exercised with as little mercy as modesty, have proved, in the result, very humble powers; and after usurping an authority, the most dictatorial and audacious, a general doubt is now expressed as to the ability with which it was at one time supposed to have been conducted. Of this there certainly can be no dispute, that it will be difficult to name as many volumes in the English language which afford so few quotable passages; and perhaps there can be no better proof of the original mediocrity of the contributors, whatever may have been the merit of a few occasional articles. In this sketch of the history of the Edinburgh Review, the circumstances in which it arose, and by which it was affected during its course, have alone been considered; and in speaking of the causes which contributed to its decline and fall, reference only has been made to matters of notoriety entirely within the knowledge of the public. To have adduced other instances of personality, of misrepresentation, or of false or unfair criticism, would have swelled the notes to an unreasonable length. Perhaps I may hereafter resume this fertile theme. VINDEX.* * We shall be glad to hear occasionally from VINDEX.-C.N. A LETTER CONCERNING HAYDON'S PAINTINGS. MR CHRISTOPHER NORTH, As you have probably been hindered by that gout of which we hear so frequently, from going to see any thing out of doors, you may not intend to favour the public with any remarks on the pictures which have lately been sent by Haydon to be exhibited here. And, if you had upon any occasion viewed and considered these works of the pencil, it is most likely that you would be averse to administer to that appetite for the cant of criticism, which, when it is prevalent, is more a sign of vanity than of taste in the public. For my part, I entirely agree with those who think that painting is a "silent art," and that much talk about it tends to pervert the judgment, and make us uncertain of what we behold, or rather to supersede the sense of sight altogether; in which case every man is his own Apelles. Therefore, in addressing this letter to you, I do not mean to utter particular criticisms upon the paintings beforementioned, but to say a few words on painting in general, as a sort of communication of thought among mankind, like literature; and also to defend the credit of that kind of paint ing which is capable of circulating popularly in this country, as other works of imagination do, and of awakening general and disinterested sympathies. Situated as painters are with us, the truth is, that they must look in the first place, to public exhibitions, for the most expectable remuneration for their labours. It is true, that the feelings of the multitude, though capable in general of sympathising with any strong expression of passion, tend naturally towards impurity and degradation of taste. But if an artist, like a poet, seriously endeavour to express situations of human nature, which are to move and speak home to the hearts of his contemporaries, it is probable that he will at least attain to excellence in the dramatic or humanly expressive department of his art, and afterwards if the public should be found capable of recognizing higher things, the artist will of course raise his style. In England, the painters certainly never seem to enjoy any of those visions of celestial beauty and felicity which frequently came to the mental eyes of the Italian artists. The artists here may be expected to succeed most frequently in dramatic expression and in the shewing of situ ations; nevertheless, in choosing interesting subjects for paintings, it is an error in the artist to seek for other than those found in the Scriptures, which present conceptions permanent and known to all mankind, and replete with true meaning and sentiment. These would not be exhausted although they were painted a thousand times; for they might still be repeated differently in other pieces, beyond numeration. Invention in painting is shewn in the mode of treating a known subject, and bringing out its meaning, as a great actor does that of a poet. with more effect than what he copies from sight. Admiring Haydon's drawings from the Elgin marbles, I think as follows concerning that kind of sculpture. External form may either express abstract quantities, which are beautiful independently of their relation to life, or it may shew the action and power of the substance which is in the form. That which is seen in the Elgin marbles is of the latter kind. The figures there are most expressive of the internal reaction of the parts, and, for that reason, beget in the spectator more feeling of power and substance than of pure quantity. Therefore, according to the ancient and true discrimination of Aristotle, they may be called beautiful or expressive zara YɛLAV, according to energy. But those other remains of Grecian statuary which are chiefly intended to affect the mind by shewing pure quantities in the limits of the figure, (from whatever position viewed,) may be called beautiful xara Although I have not always admired the tout ensemble of Haydon's pictures, I think that he evidently shews the opening up of this kind of genius, (that is to say, the power of dramatic expression,) and that he ultimately will be effective in it. The zeal which he has manifested cannot spring from so sapless a root as the mere desire for fame or money, but must come from the wish to seek after what is generally significant and affecting, and to communicate itx, or according to definition. to mankind. Nor ought he to be seriously blamed for using copious means to draw the notice of the public; since all these things were necessary for overcoming the obstacles which he must have found in his way. A manly self-confidence is not only becoming, but necessary; since most English painters, from timidity and want of strong feeling, have resorted to a compilation, which has the merit of correct design, but wants that natural derivation of parts which gives vitality and unity of effect, and which shews a work to be the genuine and free-born offspring of a single mind. Therefore, in many cases it is wisest in an artist to resist external and inconsistent impressions, and to spread out whatever character and style he finds the root of in his genius; and those conceptions, which spring from the workings of original thought, will have a vigour like that of a living and growing tree. But to this no one can attain, unless he have more confidence in his own feelings than in external impressions. Every painter, besides learning from externally observing human beings, has a more important knowledge of human nature in himself, and his works will be according to the elevation, or sensibility, or power of gesture, which is in his own nature; and this he expresses To please in painting, the great requisite is the well-ordered effect of the whole together. This strikes at first sight, if grand, with awe and astonishment, and even in any case continues always to satisfy the spectator as to the most important particulars of the complex appearance which he views For it is a labour to view and comprehend even the most significant forms, if not placed in such lights as give simplicity and perspicuity to the whole. The picture of Haydon's, which is most agreeable to look upon, and best tuned in the colouring, is that of Christ kneeling in the Garden. It has been unjustly depreciated; for the figure of Judas is original, and so much the better for verging towards grimace. Since he already excels in colouring, as an imitation of nature, it is to be wished that the artist would study more to charm by colouring as a harmony, connecting all which is comprehended in a picture, and spreading from part to part. But, it must be acknowledged, that a majority of those who go to see his pictures are more capable of being affected by the sound of a cart or a drum. The feeling of harmony in colouring is like the acquisition of a new sense. I am, Mr Christopher, Yours, &c. H. I. ESSAYS ON PHRENOLOGY; OR AN INQUIRY INTO THE PRINCIPLES AND UTILITY OF THE SYSTEM OF DRS GALL AND SPURZHEIM. II.-PHRENOLOGICAL OBSERVATIONS ON THE CEREBRAL DEVELOPEMENT OF DAVID HAGGART. III-LIFE OF DAVID HAGGART, WRITTEN BY HIMSELF WHILE UNDER SEN- IV. SPURZHEIM ON EDUCATION. THE most inveterate enemies of Gall and Spurzheim must now be convinced-convicted-of the blind folly of their opposition to the doctrines of those great discoverers in the philosophy of the human mind. Fortunately for mankind, David Haggart murdered the jailor of the Dumfries prison; and that distinguished Craniologist, Mr George Combe, having, according to the method of induction prescribed by his predecessor, Lord Bacon, and explained by his contemporary, Mr Macvey Napier, studied the natural character of the murderer, as indicated by his cerebral organization, he has been enabled to place Phrenology among the number of the exact sciences. Looking upon this achievement as by far the greatest that has been perform ed in our day, we shall endeavour to present our readers with a short sketch of Mr Combe's discoveries, which have thus formed an era in the history of human knowledge. Mr George Combe, who possesses a tenderness of sensibility rarely found united with great intellectual power, made his experiments on Mr David Haggart, who was yet unexecuted, with a kindness and a courtesy which cannot be too highly eulogized, or too warmly recommended to the practice of other men of true science. Though Mr Haggart had dedicated his youth, with an almost exclusive passion, to the pursuits of pocket-picking, thieving in general, highway robbery, and murder; yet Mr Combe wisely and humanely saw in this no reason against treating him with delicacy and respect; and accordingly, there is something very touching in the account of the first interview between the great craniologist and the great criminal. "On going over his head," says Mr Combe, "I mentioned to him THE FEELINGS AND POWERS which it indicated; but he made no remarks as to the correctness or incorrectness of the observations. On telling him that he had a greater developement of BE NEVOLENCE AND JUSTICE than I had anticipated, his countenance softened, and he almost shed a tear." The most flinty bosom must be softened-the most stony eye melt-we should think at this simple recital. Mr Combe, with his hand slowly moving up and down, and round about Mr Haggart's. youthful and devoted head-the eye of the tender-hearted murderer gradually becoming suffused with tears→→→ the silk and spotted pocket-handkerchief purchased, no doubt, from the man at the corner, softly applied by the sympathizing phrenologist to the face of the too sensitive assassin-Mr J. R. Sibbald, jailor, we presume, and Mr James Law, junior, a gentleman, to us unknown-standing silent by, each probably with a face as long as his arm-furnish a scene, inferior in dignified and solemn pathos, perhaps, only to the death of Socrates. We recommend it as a subject to Mr. Geddes, far more likely to attract public attention than the discovery of the Regalia. A set of quizzical law. officers, with gowns and wigs, peep ing into a great chest, like a meal garnel, or staring about them with ugly and unmeaning faces, upon the most unmeaning of all possible occa sions, could never be put into competition, for a single moment, with the first philosopher and the first felon of the age, laying their heads together for the completion of mental science, in the presence of two awe-struck and reverential disciples. This tender interview was before.. condemnation. But David was tried: and ordered to be hanged by the neck till dead, between the hours of eight and nine in the morning of July 18, 1821. That restraint under which-1 he had laboured during this afflicting! interview, was now removed. There was now, alas! no longer any reason for concealing the truth-and Mr Combe now saw that many little traits. 1 1 in David's character as a thief, a robber, and a murderer-many little nice and delicate shades of iniquity, which had formerly been concealed, would now appear to the inspection of the eye of science, and that, by their application to the Theory, new light would be thrown on the whole moral and intellectual nature of man. It does not appear from Mr Combe's statement at least if it does, it has escaped our notice that he performed any process of manipulation on the cerebral organization of Mr Haggart, after condemnation. But he drew up a character of the criminal from the developement of his head, as formerly noted, and submitted it to his own observation, as to correctness. In doing so, Mr Combe still observed the same laudable delicacy and refined humanity towards him, who was the subject of his queries, and soon about likewise to be the subject of the still more searching home-thrusts of Dr Monro, that had marked the whole of his behaviour during their interview. In the sketch submitted to Mr Haggart, every expression was avoided that might seem in any way to convey any harsh and needless disapprobation of that peculiar mode of life, which he had chalked out for himself, or any want of sympathy with those peccadilloes, which had brought him within a very few days journey of the scaffold. Mr Combe, with the wisdom of a philosopher, and the charity of a Christian, blandly intimates to David, "that the motive of doing so is not to indulge in idle curiosity, but to throw light upon the natural dispositions which particularly lead a young man into a sporting line of life!! for the purpose of devising effectual means to reclaim young offenders at the outset of their career, by placing them in circumstances calculated to cultivate the good, and restrain the evil tendencies of their nature. The present conversation is entirely confidential, and will not be abused. David Haggart is therefore requested to be open and completely candid in his remarks." The expression," sporting line of life," is most judiciously selected by Mr Combe, from the vocabulary most familiar to the gentleman whom he addressed, and is well calculated to keep in the back-ground all those painful and distressing associations, which the mind is but too apt to connect with the words, burglary, robbery, and murder. It throws a certain air of cheerfulness and merriment over crimes of the blackest dye, which, in a great measure, reconciles us to them, and thereby enables us to look on them with little or no disturbance, so that we can the better judge of their real character. An ordinary person cannot think of bloody crimes with too great agitation of abhorrence; but a philo sopher, like Mr Combe, is superior to these delusions of the imagination, and therefore thinks and writes rationally of murders and murderers. Next to the wisdom implied in such phrase ology, appears to us that shewn in the penultimate sentence of the paragraph now quoted. Hitherto we have known nothing of the natural dispositions which lead young men into a sporting line of life, or what makes them rob bers and murderers. The whole subject has lain hid in utter darkness. No attempt. ever has been made to speculate on it; and consequently no effectual means ever adopted to edu cate the young people of this or any other country. Mr Combe's object, therefore, was to ascertain facts never before understood, and thence to deduce rules for a grand system of moral education or regeneration. And these views he recommended, as was proper, to the enlightened mind and enlarged understanding of Mr Haggart, who appears to have entered into them with his usual energy, and with a zeal, which, considering the peculiar circumstances of his situation, may be thought by some to class him among the most disinterested benefactors of our species. The result of Mr Combe's observations, and of Mr Haggart's own re marks upon them, is a more perfect knowledge of the sources of wickedness and crime in the human heart, than has ever before been possessed by any people; and now it becomes an imperious duty on Mr Combe, and a duty indeed, which he pledged himself to the late Mr Haggart and his executors forthwith to perform, to devise effectual means for reclaiming young offenders at the outset of their career. As soon as this plan is published, we shall think it our duty to lay an account of it before the public; and if it is to be carried into effect by subscription, we put our name down, "Christopher North, Esq. ten gui neas;" and there can be no doubt, that our example will be speedily followed by Lord Grey, Mr Lambton, Mr Wilbraham Bootle, Gale Jones, J. A. Murray, Esq. &c. But we positively object to Sir James Macintosh being treasurer, for reasons which we shall be happy to communicate to him, whenever he writes to us upon the subject. It is plain, that had Mr Combe's intended plan been carried into effect," for reclaiming young offenders at the outset of their career," some late subscriptions, and, among others, that for Sir Robert, would have been uncalled for. The real character of the late lamented Mr Haggart, as indicated by his cerebral organization, may be supposed by shallow thinkers to be at variance (in some of the minuter points) with his supposed character, as indicated by some of his actions. This discrepancy, however, disappears before the eye of philosophy. "The developement of Haggart's head, as it appears upon the cast of the skull, is as follows: 1. Amativeness, moderate. 21. Size, moderate. 25. Order, full. 26. Time, moderate. 27. Number, moderate. 28. Tune, full. As the above is, beyond all doubt, his real character, just let us observe how it tallies with his life, and ac knowledge what an excellent young man he must have been, as young men go. This remark 1. Amativeness. It was moderate. Now this is just what amativeness ought to be in a human creature. A man is not a horse, a bull, or a ram ; and therefore David Haggart's organ of amativeness was moderate. Accordingly, Mr Combe prettily writes, “You would not be the slave of the sexual passion; you could resist that tendency, without a great effort, when.. you wished to do so." David rather misunderstood. He seems to have forgot Mr Combe's philosophical character, and the great aim of all his inquiries, namely, to establish a new system of education, and to have suspected that his friend was sneering on a point, on which all men are extremely tender, be the size of their organ of amativeness what it may. So David rather pettishly replies: "You have mistaken me in this point of sexual passion; for it was my greatest failing, that I had a great inclination to the fair sex,-not, however, of those called Prostitutes; for I never could bear the thought of a whore, although I was the means of leading away and betraying the innocence of young women, and then leaving them to the freedom of their own will. I believe that I was the master of that art more than any other that I followed." to Now all this is perfectly consistent with a moderate sized amative organ. "An inclination for the fair sex,' employ Mr Haggart's moderate and well-chosen expression, does not imply extreme criminality; and his natural and acquired abhorrence of " those called prostitutes," is much in favour both of himself and of Mr Combe.. "Leading away and betraying the innocence of young women, and then leaving them to the freedom of their own will," was certainly far from being one of the most amiable habits of this accomplished young man ; but it is by no means conduct inconsistent with the possession of a moderate organ of amativeness; for in Haggart it seems. to have proceeded from a mixed feeling. Pride of art, vanity, &c. were gratified by these successful amours; and he knows little indeed of Mr Haggart's character-little indeed of. human nature in general-perhaps little of his own, who does not know. that even this mixed, compounded, and complex emotion, excited Captain Smith of Halifax to the seduction |