the flexor muscles; whereas, in the picture, the lad extends his arms; and the fingers of the left hand are stretched unnaturally backwards. Nor do the lower extremities correspond with truth; he stands firm; the eyes are not natural, they should have been turned more inwards, as looking into the head, and partially buried under the forehead. The mouth, too, is open, which is quite at variance with the general condition, and without the apology which Domenichino had. The muscles of the arms are exaggerated to a degree which Michael Angelo never attempted; and still it is the extensors and supinators, and not the flexors, which are thus prominent.

Disease has characteristic symptoms, which we can accurately and scientifically reduce to description; and borrowing from this source, there is no state of suffering from which we can so well infer the nature of the agitation of the frame as from hydrophobia. The patient being sensible of his condition, and calm, and aware of the experiment which is to be made upon him by his physician, when he calls for a glass of water, cannot resist the influence of the disease. He shudders, his face assumes an expression of extreme horror and alarm; convulsive gulpings take place in his throat; he flies to some support, and clings to the bedpost in an agony of suffocation. This I have witnessed in a powerful man. I have had the pain of seeing the disease in a girl of eighteen. The irritability of the skin being increased to an awful degree, so that the touch of her long hair falling on her naked body, excited, as she said, the paroxysms. These recurred with a sense of choking, with sudden and convulsive heavings of the chest, a shuddering, and catching of the muscles of breathing, and an appalling expression of suffering. The paroxysms in such a case becoming more frequent and severe, finally exhaust the powers

of life. In these convulsions it is the nervous and muscular systems belonging to the natural function of respiration which are affected; and as they are also the organs of expression, the condition is seen not only in the countenance, but in the throat and chest, to be that of extreme horror.

FEAR.

"Nam Timor unus erat, facies non una timoris,
Pars laniat crines, pars sine mente sedet.
Altera mæsta silet, frustra vocat altera matrem,
Hæc queritur, stupet hæc, hæc fugit, illa manet."
OVID, De Arte Amandi.

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So Ovid describes the Sabine virgins; and such the tumultuary and distracted state of mind produced by fear. And there is good reason for this, because in a sudden daunt and onset of an unexpected evil, the spirits which were before orderly carried by their several due motions unto their natural works, are upor this strange appearance and instant oppression of danger so disordered, mixed, and stifled, that there is no power left either in the soul for counsel, or in the body for execution." In mere bodily fear there is mere animal expression and meanness. The breath is drawn and the respiration suspended; the body fixed, and powerless; the eyes riveted, or searching and unsteady; and the action undetermined.

Mr. Burke, in his speculations on fear, assimilates it, with perhaps too little discrimination, to pain. "A man in great pain," he observes, "has his teeth set; his eyebrows are violently contracted; his forehead is wrinkled; his eyes are dragged inwards, and rolled