favourite, and might be cited as an instance of “ the ruling passion strong in death ;” for he was em- ployed in sketching the gay scenery of Worcester- shire but a few hours before his decease. The leisure hours of the last few months of his life had also been employed in preparing for the press a new edition of his work on the Anatomy of Ex- pression. I ought rather to say re-writing it, so much additional manuscript does it present, so many additional illustrations from the study he had recently made of the great productions in painting and sculpture at Florence and at Rome.
It was in the summer of 1840 that his love of art led him to Italy, that he might become more intimately acquainted with the masterpieces that enrich it. During his tour he kept a journal, which I have had the gratification of seeing; it consists of three volumes of sketches and remarks. He passed through Paris and Lyons, and entered Italy by way of Genoa. Here he was struck by the contrast between streets as narrow as ‘ Blackford Wynd” and the gorgeous architecture of the palaces which flank them. His hotel had once been a palace ; and as he sat on a velvet cushion in an arm-chair of gold, while a fountain played from a marble lion, and the too vivid light was moderated by orange trees and silk curtains, he felt that he was in GENOVA LA SUPERBA.
He enjoyed what he calls a day of Raphael in the Vatican, and was worthy of enjoying it. His piercing eye detected, as we might expect, some errors of anatomy in Raphael’s drawings. “ But do not think of that,” he adds, “ but of the fine
