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DEATH OF THE LOTTERY.

In the spring, and for three weeks after midsummer, 1826, the lottery-office keepers incessantly plied every man, woman, and child in the United Kingdom, and its dependencies, with petitions to make a fortune in "the last lottery that can be drawn." Men paraded the streets with large printed placards on poles, or pasted on their backs, announcing "All Lotteries End for Ever! 18th of July." The walls were stuck, and hand-bills were thrust into the hands of street passengers, with the same heart-rending intelligence, and with the solemn assurance that the demand for tickets and shares was immense! Their prices had so risen, were so rising, and would be so far beyond all calculation, that to get shares or tickets at all, they must be instantly purchased! As the time approached, a show was got up to proclaim that the deplorable "Death of the Lottery," would certainly take place on the appointed day; but on some ac

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PHRENOLOGY.

PHRENOLOGICAL ILLUSTRATIONS. By George Cruikshank. London: Published by George Cruikshank, Myddelton-terrace, Pentonville. 1826.

"In the name of wonder," a reader may inquire," is the Every-Day Book to be a Review." By no means; but "George Cruikshank" is a “remarkable person;" his first appearance in the character of an author is a "remarkable event," in the August of 1826; and, as such, deserves a "remarkable notice."

Every reader is of course aware, that, as certainly as a hazel-rod, between the fingers of a gifted individual, discovers the precious metals and waters beneath the earth, so certainly, a phrenological adept, by a discriminating touch of the nodosities on the surface of the head, detects the secret sources, or " springs of human action." To what extent Mr. Cruikshank has attained this quality, or whether he is under obligations to Dr. Combe for "a touch" of his skill, or has bowed his head to Mr. De Ville for "a cast" in plaster, is not so clear, as that his "Phrenological Illustrations" will be as popular, and assuredly as lasting as the science itself "Cruikshank and Craniology-for ever!”

Be it observed, however, that "Craniology," which alliterates so well with "Cruikshank," was only a "proper" term, while the disciples of doctors Gall and Spurzheim were traversing the exterior of the cranium; but after they had gained a knowledge of the interior, and classified and arranged their discoveries, they generalized the whole, and relinquished the term "craniology" for the denomination" phrenology." This change was obviously imperative, because "craniology" signifies no more than an acquaintance with the outside of the head, and "phrenology" implies familiarity with its

contents.

Still, however, the incipient phrenologist must avail himself of "craniology," as an introduction to the nobler science. To him it is as necessary a guide as topography is to a student in geology, who without that requisite, and supposing him ignorant of the characters of mountains may lose his way, and be found vainly boring Schehalion, or sinking a shaft within the crater of an exhausted volcano. To prevent such mistakes in "phrenology." the "estate under the hat" has been VOL. II.-88.

thoroughly explored, and divided and subdivided names and numbers have been assigned to each portion, and the entire sured, and mapped, "according to the globe of the microcosm accurately mealatest surveys."

Mr. Cruikshank's "Illustrations of Phrenology" form a more popular introduction to the science than its most ardent admirers could possibly hope. He acknowledges his obligations to doctors Gall and Spurzheim, and implicitly adopts their arrangement of the " organs;" a word, by the by, that signifies those convexities which may be seen by the eye, or touched by the finger, on the exterior of the greater convexity called the head; and which are produced, or thrown up thereon, by the working or heaving of the ideas internally. From this process it appears that a man "bores" his own head, so as to form concavities within and convexities without; and, in the same way, by the power of speech, "bores" the heads of his friends. The term "to bore," however, as commonly used, signifies "to bother," or " perplex and confound," and therefore is not admitted in the nomenclature of "phrenology," which condescends to level every bump," to the right understanding of the meanest capacity.

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Of Mr. Cruikshank's proficiency or rank in the phrenological school, the writer of this article is incompetent to judge; but, as regards his present work, whether he be a master, or only a monitor, is of little consequence; he seems well grounded in rudiments, and more he does not profess to teach. Instead of delivering a mapped head in plaister of Paris with his book, he exhibits an engraving of three "bare polls," or polls sufficiently bare to discover the position of every convexity or "organ" whereon he duly marks their numbers, according to the notation of doctors Gall and Spurzheim. From hence we learn that we have nine propensities, nine sentiments, eleven knowing faculties, and four reflecting faculties. Adhering to the doctrinal enumeration and nomenclature of the " organs" worked out, or capable of being worked out, by these propensities, sentiments, and faculties, on every human head, he wisely prefers the Baconian as the best method of teaching "the new science," and exhibits the effects of each of the thirty-three "organs" in six sheets of etchings by himself, from his own views of each "organ."

It is now proper to hint at the mode wherein the artist has executed his design, and to take each organ according to its number, and under its scientific term.

I. AMATIVENESS.

Mr. Cruikshank seems to imagine that this organ may induce a declaration of undivided attachment to an intermediate object, in order to arrive at the object sincerely desired: under the circumstances represented, this deviation of "amativeness" may be denominated 66 cupboard love."

II.-PHILOPROGENITIVENESS.

The tendency of this perplexing organ hastens the necessity of extending our "colonial policy." This sketch is full of life and spirit.

III. INHABITIVENESS.

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The subject of the artist's point, a tenant for life," doubtless has an amazing developement of the organ.

IV.-ADHESIVENESS

Is " enough to frighten a horse." This organ will be further observed on presently.

V.-COMBATIVENESS.

Its vigorous cultivation is displayed with much animation.

VI.-DESTRUCTIVENESS.

his "followers." On this third example may be quoted what Mr. Cruikshank says of another organ, "Inhabitiveness. To this organ is ascribed, in man, Self Love, and in other animals, Physical height. The artist has endeavoured to give his idea of inhabitiveness in plate 2." On comparing the anecdote last related, with the artist's idea in the plate he refers to, it is clear that, on this occasion, his view might have been more elevated. In the last-mentioned bull, "Inhabitiveness" seems to have been the prevailing organ. Separately considering the three animals, and their general character, and the tempting objects by which each was surrounded, without their manifestation of any action to denote the existence of "destructiveness," a question arises, whether counteracting organs may not be cultivated in such animals, to the extent of neutralizing the primary developement.

VII. CONSTRUCTIVENESS.

This is so elegant an exhibition of the propensity in connection with certain vegetable tendencies, that it is doubtful whether developements from the action of the sap in plants, may not admit of classification with our own.

VIII.-COVETIVENESS.

In this representation, the countenance of a boy is frightfully impressed by the incessant restlessness of the "organ," com

A familiar illustration of this organ is bined with "cautiousness." See No. XII.

derived from a common occurrence in almost every market-town. Its contemplation, and a few recent incidents, suggest a query or two. A bull ran into a china shop, but instead of proceeding to the work of demolition, threw his eye around the place, thrust his horn under the arm of a richly painted vase, and ran briskly into the street with his prize. Was this act ascribable to the organ of "colour," or that of "covetiveness?" An or walked into a well-furnished parlour, and withdrew without doing further mischief than ogling himself in the looking-glass. Were these "stolen" looks occasioned by "covetiveness," or "self-love?" Another of the bos tribe rapidly passed men, women, and children, ran up the steps to an open street door, hurried through the passage, ascended every flight of the stair-case, nor stopped till he had gained the front attic, from whence he put his head through the window, and looked down from his proud eminence, over the parapet, upon

IX.-SECRETIVENESS.

Exhibits one of the advantages of this "propensity" in the sex.

X.-SELF LOVE.

Narcissus himself could not be more strongly marked, than this "heart-breaking" personage.

XI.-APPROBATION. See No. XXXIII.
XII.-CAUTIOUSNESS.

Prudence and indecision are here united

by a decisive touch. The accessory, who assists this "procedure of the human understanding," is exceedingly

-"light and airy;

Brisk as a bee, blithe as a fairy.'

XIII. BENEVOLENCE.

A "benevolent" individual, receiving loud acknowledgments from the object of

his favours.

XIV.-VENERATION.

Mr. Cruikshank says, that "Dr. Gall

observed this organ chiefly in persons with bald heads." The artist satisfactorily exemplifies, that when its absence occurs in Englishmen, it is a rare exception to the national character.

XV.-HOPE

This sentiment is always allegorized with an anchor, and Mr. Cruikshank represents a poor animal under its influence, “ brought to an anchor.”

XVI.-IDEALITY.

Mr. Cruikshank says, that " Mr. Forster calls this the organ of mysterizingness. It is supposed that a peculiar developement of this organ, which is remarkably conspicuous in all poets, occurs in persons who are disposed to have visions, see ghosts, demons, &c." The artist represents certain appearances, which will be recognised as "familiars."

XVII.-CONSCIENTIOUSNESS. "According to Dr. Spurzheim, this is the organ of righteousness;" but, "Dr. Gall thinks there is no organ of conscience." Mr. Cruikshank exemplifies the latter opinion, by the surprise of a female on receiving "an unexpected offer." It will not surprise the reader if he looks at the print.

XVIII.-FIRMNESS.

"Firmness," he regards in the, light of a character now being consigned rapidly to oblivion." But, "while there is life there is hope," and the character alluded to cannot be destroyed without the annihilation of "adhesiveness," which Mr. Cruikshank defines in the language of the science, and has endeavoured to give a strong but faithful illustration of, in plate 2;" a representation, alas! too accurate. See No. IV.

XIX.-INDIVIDUALITY,

A more select specimen could not have been produced.

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XXIX.-LANGUAGE.

XXX.-COMPARISON.

The organ of "Comparison" is exemplified by full developements from "Long Acre," and "Little St. Martin's-lane," within one door from the residence of "Mr. Thomas Rodd, bookseller, Great Newport-street," whose stock of books, large as it is, cannot furnish any thing like the "words that burn," in the artist's representation of " LANGUAGE.”*

XXXI.-CAUSALITY.

"This is nothing more than the organ of Inquisitiveness," and the artist himself exercises it, by gently feeling his reader's pulse.

• Mr. Rodd seldom adventures in paper and print, yet he has put forth a "second edition, with considerable additions," of a curious and useful little volume bearing the modest title of "An Attempt at a Glossary of some words used in Cheshire, communicated to the Society of Antiquarians. By Roger Wilbraham, Esq. F. R. S. and S. A. London, 1826," royal 18mo. pp. 120

If a person desires to collect books, or to be acquainted with the writers on any given subject, ancient or modern, rare or common, I know of no one to whom he can apply more successfully, or on whom he can rely for judgment and integrity more implicitly, than Mr. Thomas Rodd, His mind is as well stored with information, as his shop is with good authors, in every class of literature; and he is as ready to communicate his knowledge gratuitously, as he is to part with his books at reasonable prices "to those who choose to buy them."-Editor.

XXXII.-WIT.

There is great difficulty in defining this organ. Mr. Cruikshank's representation of it is humorous.

XXXIII.-IMITATION.

This is an admirable exhibition of the organ, as we may imagine it to be cultivated by "Mr. Mathews-At home!" with

decided "APPROBATION." See No. XI.

Having hastily gone over the organs of the science, we have an additional one, "The Organ of DRAWING." Mr. Cruikshank says, he❝ cannot satisfy himself as to the precise seat of this organ, or as to the extent of its sphere of activity, but he has attempted an illustration of it." He thinks it not improbable "that the possession of this special faculty, now only at his fingers' ends, may enable him to venture again" if his present efforts are successful Why they should not be it is difficult to conceive; for however whimsical and ludicrous his "Phrenological Illustrations" may sometimes be, they are so connected with the vocabulary of the science at the commencement of his publication, as to form the horn-book, the primer, the reading made easy, and the grammar of phrenology.

Such a production as this, at such a price, (eight shillings plain, and twelve shillings coloured,) from such an artist, could not have been expected. His inimitable powers have hitherto entertained and delighted the public far more to the emolument of others than himself; and now that he has ventured to "take a benefit" on his own account, there cannot be a doubt that his admirers will encourage "their old favourite" to successive endeavours for their amusement and instruction. His entire talents have never been called forth; and some are of a far higher order than even the warmest friends to his pencil can conceive.

Though the work is to be obtained of all the booksellers in London, and every town in the united kingdom, yet it would be a well-timed compliment to Mr. Cruikshank if town purchasers of his "Phrenological Illustrations" were to direct their steps to his house, No. 25, Myddelton Terrace, Pentonville.

SHOWERS OF BLOOD.

On the 25th of August, 1826, the editor of the Every-Day Book, while writing in his room, took up the open envelope of a

letter he had received about ten minutes

before, and to his surprise, observed on its inner side, which had been uppermost on the table, several spots which seemed to be blood. They were fresh and wet, and of a brilliant scarlet colour. They could not be red ink, for there was none in the house; nor could they have been formed on the paper by any person, for no one had entered the room; nor had he moved from the chair wherein he sat. The appearances seemed unaccountable, till considering that the window sashes were thrown up, and recollecting an anecdote in the "Life of Peiresc," he was persuaded that they were easily to be accounted for; and that they were a specimen of those "showers of blood," which terrified our forefathers in the dark ages, and are recorded by old chroniclers.

It is related, for instance, that in the fifth century, "at Yorke, it rained bloud;" and in 697, "corne, as it was gathered in the harvest time, appeared bloudie," and "in the furthermost partes of Scotland it rayned bloud."* In 1553, it was deemed among the forewarnings of the deaths of Charles and Philip, dukes of Brunswick, that there were drops of bloude upon hearbes and trees."+

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As a solution of the origin, or cause of bloody spots on the paper, the anecdote in Gassendi's" Life of Peiresc" is added. Nothing in the whole year, 1608, did more please him,-than that he observed and philosophized about-the bloody rain, which was commonly reported to have fallen about the beginning of July; great drops thereof were plainly to be seen, both in the city itself, upon the walls of the churchyard of the great church, which is near the city wall, and upon the city walls themselves; also upon the walls of villages, hamlets, and towns, for some miles round about; for in the first place, he went himself to see those wherewith the stones were coloured, and did what he could to come to speak with those husbandmen, who beyond Lambesk, were reported to have been so affrighted at the falling of the said rain, that they left their work, and ran as fast as their legs could carry them into the adjacent houses. Whereupon, he found that it was a fable which was reported, touching those husbandmen. Nor was he pleased that the

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