observes, that, in GLÜCK, and others, this organ had a pyramidal form; in MOZART, VIOTTI, ZUMSTEG, DUSSEK, CRESCENTINI, and others, the external corners of the forehead are enlarged, but rounded. Great practice is necessary to be able to observe this organ successfully; and beginners should place together one person possessing a genius for music, and another who can scarcely distinguish between any two notes, and mark the difference of their heads. The superior development of the former will be perceptible at a glance. The faculty gives the perception of melody; but this is only one ingredient in a genius for music. Time is requisite to a just perception of intervals, Ideality to give elevation and refinement, Secretiveness and Imitation to produce expression; and Constructiveness, Form, Weight, and Individuality, are requisite besides, to supply mechanical expertness, necessary to successful performance. The largest organ of Tune will not enable its possessor to play successfully on the harp, if Weight be deficient; the capacity of communicating to the string the precise vibratory impulse requisite to produce each particular note will then be wanting.

Dr GALL mentions that he had examined the heads of the most celebrated musical performers and singers, such as ROSINI, CATALANI, &c. and found the organ uniformly large, and that the portraits and busts of HAYDEN, GLÜCK, MOZART, &c. shew it also largely developed. I have examined the heads of Madame CATALANI, and many eminent private musicians, and found the organ confirmed in every instance. Dr GALL remarks farther, that a great development is not to be expected in every ordinary player on a musical instrument. With a moderate endowment, the fingers may be trained to expertness; but when the soul feels the inspiration of harmonious sounds, and the countenance expresses that voluptuous rapture which thrills through the frame of the real musician, a large organ will never be wanting.

"Il me parait," continues Dr GALL, "que les hommes

qui sont capables de déduire les lois de la composition dès lois des vibrations sonores, et des rapports des tons, et d'établir ainsi les principes les plus généraux de la musique, doivent être doués en même temps d'un organe des nombres très develloppé ; car l'exercise de ce degré du talent musical exige, sans contredit, beaucoup de calcul; aussi la circonvolution inférieure de l'organe musical, la plus large de toutes, se continue immédiatement dans l'organe des nombres. Céci explique pourquoi on peut être excellent musicien, et n'avoir pas le talent de la composition; être grand compositeur sans etre en meme temps grand musicien *."

The heads of Italians and Germans in general are broader and fuller at the situation of this organ than those of Negroes, Otaheitians, Spaniards, Frenchmen and Englishmen, in general; and musical talent is more common in the former than the latter.

Mr Scott has published in the Phrenological Journal †, two admirable Essays "on Music, and the different faculties. which concur in producing it," which will be found highly deserving of attention. He conceives Tune to be the primitive faculty which distinguishes, "1st, That agreement of component vibrations in simple sounds, which constitutes them musical; 2d, That relation in separate sounds emitted together, which constitutes harmony; and, 3d, That relation in successive notes, which constitutes melody." He then considers the auxiliary faculties requisite to the practical musician (namely those before enumerated), and points out the effect of each in conducing to musical genius. "Imitation," says he, " is necessary, particularly to the vocal performer, to enable him to imitate the sounds he hears, and to give, by his own vocal organs, a correct copy of the music which he wishes to execute. Accordingly, it is matter of observation, that all singers who sing naturally and easily, possess a considerable organ of Imitation." He then enters, at considerable length, into the subject of mu

*Sur les Fonctions du Cerveau, tome v. p. 120.

+ Vol. ii. pp. 170. and 556.

a calm and composed, but not a touching expression. When Benevolence, and the kindly and social affections are large, and when Tune, Imitation, and Ideality, are at the same time large, the voice has a degree of bewitching softness, as may be observed in the case of Miss STEPHENS or Miss TREE. But there occur in private life many instances to the same effect. When Benevolence and the higher sentiments are both united in full proportion, the voice is felt to be peculiarly delightful and harmonious. In men there is generally too much of the lower propensities to admit of this in its highest degree; indeed, these seem so essential to a manly character, that in them it would not be desirable. But we have met with women whose every tone is music, and whose voices, even in ordinary discourse, have about them a delightfulness which is quite irresistible, and which makes its way directly to the heart. This softness and sweetness of voice, is remarked as a great point of female excellence by King Lear, where the old distressed monarch is enumerating the excellencies of his favourite Cordelia,

"Gentle and low, an excellent thing in woman

These observations of Mr SCOTT are very interesting, and numerous cases have been observed in accordance with them; but they are not absolutely correct, because I have met with decided exceptions. One gentleman, in particular, has a moderately sized head, small cerebellum, and the other propensities below an average, whose voice is nevertheless a deep rich bass. It is certain that the development of brain has some, and even an important influence on the quality of the voice: but so have the lungs and larynx; and it is still unascertained how much of the actual effect is attributable to each.

When an average development of Tune is combined with high intellectual organs, the superior objects with

which these are conversant, generally attract the mind, and music is little cultivated. When, on the other hand, these are small, and Ideality, Hope, Benevolence, Veneration, and Wonder, which Tune is particularly calculated to gratify, are large, the tendency to practise music is much stronger. Hence, with the same absolute development of this organ, very different practical results may ensue; but this is in exact accordance with the principles of the science; for it is the predominance of particular organs in an individual that decides the bias of his mind; the organs, largest in size, always tending most powerfully to seek gratification.

Tune is occasionally found strong in idiots, and, in some insane patients, its activity remains unimpaired amidst an extensive derangement of the other faculties. I have seen two idiots who manifested it in a considerable degree.

The following case is reported by Dr ANDREW COMBE, which occurred in his own practice:

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"A young lady of high musical and intellectual powers, Α and of a very active mind, and who has for some months past been subject to frequent attacks of hysteria in all its ever-changing forms, and who suffers almost constantly in a greater or less degree from headach, complained on Saturday, 22d April 1826, of feeling acute pain at the external angle of the forehead, precisely in the situation of the organs of Tune, which are largely developed, and upon which, in describing the seat of the pain, she placed most accurately the points of the fingers. Next day the same complaint of pain in that region was made; and about two hours after I saw her, she was suddenly seized with a spasmodic or rather convulsive affection of the larynx, glottis, and adjoining parts, in consequence of which a quick, short, and somewhat musical sound was regularly emitted, and continued with great rapidity as if the breathing had been very hurried. On examination externally, the os hyoides at the root of the tongue and the thyroid cartilages were seen in constant motion, and in the act of alternately ap

proximating and receding from each other. The will was so far powerful in controlling this motion, that the young lady was able to utter a few short sentences at a time without much difficulty, interrupted, however, by two or three movements. After this singular state had continued for about two hours, she herself remarked, that it was becoming rather too musical, and wished that it would cease, which it did at the end of another half-hour, from accidental pressure with the finger in pointing out the motion to another person; she was then as well as usual, only somewhat fatigued.

"On Monday, 24th April, she still complained of pain in the situation of the organ of Tune; and stated, that she had been dreaming a great deal of hearing the finest music ; that she felt quite excited by it, and could not even now get the impression out of her head. The day passed on, however, and nothing remarkable occurred.

"On Tuesday I found that I had been rather anxiously expected. During the night the young lady had been tor. mented with the recurrence of the musical dreams, during which she heard and performed the most beautiful airs, with a distinctness which surpassed those of the preceding night. These dreams continued for some hours, and left such an impression, that on awaking she thought she could almost note down one piece of composition which had particularly pleased her. But what is very remarkable, the excessive excitement of the faculty of Tune had now reached a height that could not be controlled; the patient felt, not to say a desire only, but a strong and irresistible passion or craving for music, which it was painful beyond endurance to repress. She insisted on getting up, and being allowed to play and sing; but that being for many reasons unadvisable, she then begged to have a friend sent for to play to her, as the only means of relief from a very painful state; but shortly after the craving of the faculty became so intolerable, that she got hold of a guitar, lay down upon a sofa, and fairly gave way to the torrent, and,