even known a composite in which one portrait seemed unduly to prevail, to be remade without the component in question, and the result to be much the same as before, showing that the reason of the resemblance was that the rejected portrait had a close approximation to the ideal average picture of the rest.

These small composites give a better notion of the utmost capacity of the process than the larger ones, from which they are reduced. In the latter, the ghosts of individual peculiarities are more visible, and usually the equal traces left by every member of a moderately-sized group can be made out by careful inspection; but it is hardly possible to do this in the pictures in the Plate, except in a good light and in a very few of the cases. On the other hand, the larger pictures do not contain more detail of value than the smaller ones.

DESCRIPTION OF THE COMPOSITES.

The medallion of Alexander the Great was made by combining the images of six different medals, with a view of obtaining the type of features that the makers of those medals concurred in desiring to ascribe to him. The originals were kindly selected for me by Mr. R. Stuart Poole from the collection in the British Museum. This composite was one of the first I ever made, and is printed together with its six components in the Journal of the Royal Institution, in illustration of a lecture I gave there in April 1879. It seems to me that it is possible on this principle to obtain a truer likeness of a man than in any other way. Every artist makes mistakes; but by combining the conscientious works of many artists, their separate mistakes disappear, and what is common to all of their works remains. So as regards different photographs of the same person, those accidental momentary expressions are got rid of, which an ordinary photograph made by a brief exposure cannot help recording. On the other hand, any happy sudden trait of expression is lost. The composite gives the features in repose.

The next pair of composites (full face and profile) on the Plate has not been published before. The interest of the pair lies chiefly in their having been made from only two components, and they show how curiously even two faces that have a moderate family likeness will blend into a single one. That neither of these predominated in the present case will be learned from the following letter by the father of the ladies, who is himself a photographer:--

EXAMPLES OF COMPOSITE PROTRAITS

"I am exceedingly obliged for the very curious and interesting composite portraits of my two children. Knowing the faces so well, it caused me quite a surprise when I opened your letter. I put one of the full faces on the table for the mother to pick up casually. She said, 'When did you do this portrait of A? how like she is to B! Or is it B? I never thought they were so like before.' It has puzzled several people to say whether the profile was intended for A or B. Then I tried one of them on a friend who has not seen the girls for years. He said, 'Well, it is one of the family for certain, but I don't know which.'"

I have made several other family portraits, which to my eye seem great successes, but must candidly own that the persons whose portraits are blended together seldom seem to care much for the result, except as a curiosity. We are all inclined to assert our individuality, and to stand on our own basis, and to object to being mixed up indiscriminately with others. The same feeling finds expression when the resident in a suburban street insists on calling his house a villa with some fantastic name, and refuses, so long as he can, to call it simply Number so and so in the street.

The last picture in the upper row shows the easy way in which young and old, male and female, combine to form an effective picture. The components consist in this case of the father and mother, two sons, and two daughters. I exhibited the original of this, together with the portraits from which it was taken, at the Loan Photographic Exhibition at the Society of Arts in February 1882. I also sent copies of the original of this same composite to several amateur photographers, with a circular letter asking them to get from me family groups for the purpose of experiments, to see how far the process was suitable for family portraiture.

The middle row of portraits illustrates health, disease, and criminality. For health, I have combined the portraits of twelve officers of the Royal Engineers with about an equal number of privates, which were taken for me by Lieutenant Darwin, R.E. The individuals from whom this composite was made, which has not come out as clearly as I should have liked, differed considerably in feature, and they came from various parts of England. The points they had in common were the bodily and mental qualifications required for admission into their select corps, and their generally British descent. The result is a composite having an expression of considerable vigour, resolution, intelligence, and frankness. I have exhibited both this and others that were made respectively from the officers, from the whole collection of privates--thirty-six in number--and from that selected portion of them that is utilised in the present instance.

This face and the qualities it connotes probably gives a clue to the direction in which the stock of the English race might most easily be improved. It is the essential notion of a race that there should be some ideal typical form from which the individuals may deviate in all directions, but about which they chiefly cluster, and towards which their descendants will continue to cluster. The easiest direction in which a race can be improved is towards that central type, because nothing new has to be sought out. It is only necessary to encourage as far as practicable the breed of those who conform most nearly to the central type, and to restrain as far as may be the breed of those who deviate widely from it. Now there can hardly be a more appropriate method of discovering the central physiognomical type of any race or group than that of composite portraiture.

As a contrast to the composite of the Royal Engineers, I give those of two of the coarse and low types of face found among the criminal classes. The photographs from which they were made are taken from two large groups. One are those of men undergoing severe sentences for murder and other crimes connected with violence; the other of thieves. They were reprints from those taken by order of the prison authorities for purposes of identification. I was allowed to obtain copies for use in my inquiries by the kind permission of Sir Edmund Du Cane, H.M. Director of Prisons. The originals of these and their components have frequently been exhibited. It is unhappily a fact that fairly distinct types of criminals breeding true to their kind have become established, and are one of the saddest disfigurements of modern civilisation. To this subject I shall recur.

I have made numerous composites of various groups of convicts, which are interesting negatively rather than positively. They produce faces of a mean description, with no villainy written on them. The individual faces are villainous enough, but they are villainous in different ways, and when they are combined, the individual peculiarities disappear, and the common humanity of a low type is all that is left.

The remaining portraits are illustrations of the application of the process to the study of the physiognomy of disease. They were published a year ago with many others, together with several of the portraits from which they were derived, in a joint memoir by Dr. Mahomed and myself, in vol. xxv. of the Guy's