been made acquainted with his exist

ence.

Many proposals made to the father for the purchase of the body of his son, Claude Ambroise Seurat, in the event of his demise, were uniformly rejected. A medical gentleman particularly, in Burgundy, offered a carte blanche, which the parent, with feelings highly honourable to himself, refused, stating his determination, that in the event of his son's demise, he should be peaceably consigned to the cemetery of his native city. While at Rouen, no less than one thousand five hundred persons flocked in one day to see Seurat on his road to England.

The health of this singular being has been very good. His respiration is somewhat confined, being the necessary result of a contraction of the lungs; yet, upon the whole, he does not appear to be much inconvenienced on that account, in consequence of the little exercise he takes, and the quiescent state of the animal system.

The texture of the skin is of a dry, parchment-like appearance, which, cover ing any other human form, would not answer the purposes of its functions, but seems calculated alone to cover the slender, juiceless body of the being arrayed with it.

The ribs are not only capable of being distinguished, but may be clearly sepa rated and counted one by one, and handled like so many pieces of cane; and, together with the skin which covers them, resemble more the hoops and outer covering of a small balloon, than any thing in the ordinary course of nature.

If any thing can exceed the unearthly appearance displayed by this wonderful phenomenon, it is that taken by profile; which, from the projection of the shoulder, pursuing the same down through the extreme hollow of the back, and then following the line to the front of the hip, nearly forms a figure of 3. In the front appears the unnatural projection of the chest, from the falling in of the abdomen; the prominence of the left side of the body, in consequence of the position of the heart; and the sudden protusion of the posteriors.

The action produced by the effort of the lungs does not proceed from the chest, as in ordinary cases, but from the lower extremity of the abdomen, as though the organs of respiration, from excessive laxity,

had absolutely descended from their proper sphere, and that by a tenacious effort of nature, unwilling to yield possession of her functions, they had accommodated themselves, by time, to such an unnatural and incredible a position.

Seurat is presented to view in a state of nudity, save a mere covering of several inches deep round the loins, through which are cut large holes to admit the hip bones to pass through, for the purpose of keeping it in its place. His general appearance is that of a person almost entirely devoid of muscular substance, and conveys to the mind the idea of a being composed of bones, cellular substance and skin only on. It is true, the appearances of the face, neck, fore-arm, and calves of the legs, may, in some measure, form exceptions to this general assertion, since in these situations there is something like flesh.

His height is about five feet seven inches and a half. The length of his extremities proportionate to the height of his body. His head is small rather than otherwise. The cranium, (or skull,) at the back part, over the occipital protuberance above the neck, is much flattened; the cervical organs in this situation being very sparely developed. In other respects the skull is tolerably well formed. Seurat's countenance is by no means displeasing; for though the cheek-bones are prominent, the cheeks themselves sunk, and the other features of the face plain, still there is a placid and contemplative expression, which indicates the presence of a serene and thoughtful mind, claiming for itself from the spectators, feelings of pity and regret.

The neck, on being examined from before, appears short, flat, and broad. The shortness is principally owing to his inability to hold the face properly elevated, in consequence of which the chin drops down, and conceals the upper part of the neck. The flatness depends on the little muscular and cellular substance present, and on the great breadth of the neck, which takes from its natural rotundity. This great breadth is caused by the peculiar form and situation of the scapula, (or shoulder-blade,) the upper angles of which, instead of laying on the posterior portions of the uppermost ribs, are turned over the shoulder, and pass so far forward as nearly to reach the middle of the clavicles, (the collar-bones,) where their situation may be easily seen from before.

Of course, the muscles called levatores scapula, which arise from the upper vertebræ of the neck, and usually pass downwards, and a very little outwards, in this case, pass very much outwards, in a direction towards the shoulder-joint, and extend the neck considerably in a lateral direction. These muscles, from their size and turgidity, have the appearance of bones in Seurat.

The larynx, as far as can be judged of from an external examination, is well formed, and that protuberance of the thy soir cartilage called pomum adami, or the apple of the throat, is prominent.

The formation of the upper extremities and chest, is one of the most remarkable features of this man. The left scapula is higher than the right; both are remarkably prominent; so much so, that, when viewed sideways, there appears to be a large tumour underneath the skin, over the lower angle: this arises from the great projection of the lower angle itself from the ribs. It has been already stated, that the upper angle is placed unusually forwards, and at the bottom of the neck, from this point, the scapula proceeds backwards, and, to permit its closer application to the upper and back part of the chest, its concave surface is remarkably curved, but still not sufficiently so to prevent the lower angle from projecting in an unseemly manner. This arrangement of the component parts of the scapulu and its muscles, interferes very much with the freedom of its movements, particularly the rotatory ones, which in other subjects are so varied.

Seurat can raise his hands and arms from his side, in a lateral direction, to a position nearly horizontal. He cannot, however, pass them far forwards, when thus elevated. He can throw the scapula backwards, so as to make them almost meet at their lower ends; nevertheless, he is unable to lift his hands to his mouth, so as to feed himself in the ordinary way. When eating, he places his elbow on the table before him, then, by raising his hand, thus supported, and passing his head downwards, so as to meet it half way as it were, he is able to put his food into his mouth.

The humerus, or bone of the arm, from the elbow to the shoulder, appears quite destitute of muscle, and as if it consisted of bone, skin, vessels. and cellular membrane only. It may be remarked, how ever, that at that part where the biceps

muscle is generally, there is a trifling fulness, probably caused by a few fibres of that muscle.

The piner, the bone of the arm from the elbow to the wrist, seems at the elbow joint considerably enlarged, but, in fact, it is only of its natural dimensions. The muscles of the fore-arm, though small, may, nevertheless, be distinctly traced. The hands are perfect in appearance. Seurat, however, cannot straighten his fingers, but keeps them in a semi-bent position; with this exception, he can use them freely.

The trunk is singularly shaped. Viewed from the front, the chest is not particularly narrow; it measures, from one shoulder to the other, across the sternum, or breast-bone, sixteen inches. The sternum is much flattened, as though it had been driven inwards, towards the dorsal vertebra, or back-bone. In well-formed people, the sternum is a little convex, externally, and concave, internally, permit ting all possible room for the thoraic viscera. In Seurat, however, this order of things is changed, the outer surface of the breast-bone being concave, and the internal convex. It is pushed so far inwards, as scarcely to leave more than one and a half inches, or two inches between itself and the opposite vertebra.

This position of the sternum, and of the ribs, may probably afford an explanation of the causes which produce a slight impediment to his swallowing with despatch, or such morsels as are not cut very small; and of the unnatural situation of the heart, which, instead of being placed behind the 3d, 4th, and 5th ribs, is observed pulsating very low down behind the 7th, 8th, and 9th, ribs, in the situation of the left hypochondrium. The five or six lower ribs, called false or floating ribs, are rounder, and approach nearer to nature in their form, thereby affording sufficient space for the heart, stomach, and liver, and some other of the abdominal viscera. It is conceived, that without this freer sweep of the lower ribs, life could not have been maintained, so much would the functions of the heart, and chylopretic viscera have been interrupted. The false ribs descend very low down, on each side, there being scarcely one and a half inch between them and the crest of the ileum. The pelvis is capacious, and on its front aspect presents nothing very extraor dinary.

There is an appearance of the abdomen,

I have paid two visits to Seurat. His public exnibition takes place in a room in Pall-mall called the "Chinese Saloon;" its sides are decorated with Chinese paper; Chinese lanterns are hung from lines crossing from wall to wall. In front of a large recess, on one side, is a circular gauze canopy over a platform covered with crimson cloth, raised about eighteen inches from the floor, and enclosed by a light brass railing; the recess is enclosed by a light curtain depending from the cornice to the floor of the platform, and opening in the middle. A slight motion within intimates that the object of attraction is about to appear; the curtain opens a little on each side, and Seurat comes forth, as he is represented in the first engraving,with no other covering than a small piece of fringed purple silk, supported round the middle by a red band, with a slit like pocket holes, to allow the hip-bones to pass through on each side. On the finger of the left hand, next to the middle one, he wears a plain gold ring. An artist who accompanied me at each visit, for the purpose of making the drawings here engraved, has well represented him. The portraits, both front and profile, are better resemblances than any that exist, and the anatomy of his figure more correct.

It is justly remarked, that "the title of 'Living Skeleton' does not seem exactly to be well applied to this strange production of nature, and may, perhaps, create some disappointment; because the curiosity, as it really exists, lies far less in the degree of attenuation which Seurat's frame exhibits, than in the fact that, with a frame so reduced, a human being should be still in possession of most of his functions, and enjoying a reasonable quantity of health. As regards the exhibition of bone, for instance, there is not so much as may frequently be found (in the dead subject) in cases where persons have died of lingering consumption. The parch ment-like aspect attributed to the skin too seems to have been a little overstated; and, in fact, most medical men who served in the late war, will recollect instances enough, where men of five feet eight inches high, dying from dysentery, or intermittent fever, have weighed considerably less than 78lbs., which is the weight of Seurat. The real novelty, therefore, should be looked for, not in the degree to which this man's body is wasted and exhausted, but in the fact that such a degree of decay should be compatible

with life, and the possession of some degree of strength and spirits. This decay does not seem to have operated equally upon all parts of the figure: it shows most strikingly in the appearance of the neck and trunk; the upper arms, from the shoulder to the elbow, and the thigh. The upper part of the arm is not quite destitute of flesh; but so small, that it may be spanned with ease by a very moderate fore-finger and thumb. The thighs are wasted very much-little remains upon them beyond the skin. The cap of the knee, which is large, and protrudes considerably, is of a reddish colour, unlike the aspect of the flesh or skin in general. The trunk, from the shoulder to the hip, has the appearance, more than any thing else, of a large bellows, a mere bag of hoops covered with leather, through which the pulsation of the heart is distinctly visible. On the thicker part of the fore-arm there is flesh, white in appearance, though of a soft and unhealthy character; and the division of the two bones, the ula and the radius, may be detected by feeling. Upon the calves of the legs, again, there is some show of substance, and one is larger than the other. But the most curious circumstance, perhaps, in the man's condition is, that while his whole body exhibits these extraordinary appearances of decay, his face (which is decidedly French, and not unpleasant,) displays no signs of attenuation whatever, and scarcely any symptom of disease or weakness."*

It was on the first day of Seurat's exhibition that I first visited him; this was on Tuesday, the 9th of August, 1825; a day the present sheet of the EveryDay Book has not yet reached; I have been anxious to be before the day and the public, as regards Seurat, and it is therefore, as to him, anticipated. I was at the "Chinese Saloon" before the doors were opened, and was the first of the public admitted, followed by my friend, the artist. Seurat was not quite ready to appear; in the mean time, another visitor or two arrived, and after examining the canopy, and other arrangements, my attention was directed to the Chinese papering of the room, while Seurat had silently opened the curtains that concealed him, and stood motionless towards the front of the platform, as he is represented in the engraving. On turning round, I was instantly rivetted by his amazing

*Times.

emaciation; he seemed another "Lazarus, come forth" without his grave-clothes, and for a moment I was too consternated to observe more than his general appearance. My eye, then, first caught the arm as the most remarkable limb; from the shoulder to the elbow it is like an ivory German flute somewhat deepened in colour by age; it is not larger, and the skin is of that hue, and, not having a trace of muscle, it is as perfect a cylinder as a writing rule. Amazed by the wasted limbs, I was still more amazed by the extraordinary depression of the chest. Its indentation is similar to that which an over-careful mother makes in the pillowed surface of an infant's bed for its repose. Nature has here inverted her own order, and turned the convex inwards, while the nobler organs, obedient to her will, maintain life by the gentle exercise of their wonted functions in a lower region. Below the ribs, which are well described in the accounts already given, the trunk so immediately curves in, that the red band of the silk-covering, though it is only loosely placed, seems a tourniquet to constrict the bowels within their prison house, and the hip-bones, being of their natural size, the waist is like a wasp's. By this part of the frame we are reminded of some descriptions of the abstemious arid Bedouin Arab of the desert, in whom it is said the abdomen seems to cling to the vertebra. If the integument of the bowels can be called flesh, it is the only flesh on the body: for it seems to have wholly shrunk from the limbs; and where the muscles that have not wholly disappeared remain, they are also shrunk. He wears shoes to keep cold from his feet, which are not otherwise shaped than those of people who have been accustomed to wear tight shoes; his instep is good, and by no means so flat as in the generality of tavern waiters. His legs are not more ill-shaped than in extremely thin or much wasted persons; the right leg, which is somewhat larger than the left, is not less than were the legs of the late Mr. Suett, the comedian. On this point, without a private knowledge of Mr. Liston, I would pubicly appeal to that gentleman, whom, on my second visit in the afternoon, I saw there, accompanied by Mr. Jones. Mr. Liston doubtless remembers Suett, and I think he will never forget Seurat, at whom he looked, "unutterable things," as if he had teen about to say-" Prodigious!"

Seurat's head and body convey a senti

ment of antithesis. When the sight is fixed on his face alone, there is nothing there to denote that he varies from other men. I examined him closely and frequently, felt him on different parts of the body, and, not speaking his language, put questions to him through others, which he readily answered. His head has been shaved, yet a little hair left on the upper part of the neck, shows it to be black, and he wears a wig of that colour. His strong black beard is perceptible, although clean shaved. His complexion is swarthy, and his features are good, without the emaciation of which his body partakes ; the cheek-bones are high, and the eyes are dark brown, approaching to black. They are represented as heavy and dull, and to denote little mental capacity; but, perhaps, a watchful observer, who made pertinent inquiries of him in a proper manner, would remark otherwise. He usually inclines the head forward towards his breast, and therefore, and because he is elevated above the spectators, his eyes frequently assume a position wherein he might see, and "descant on his own deformity." His features are flexible, and therefore capable of great animation, and his forehead indicates capacity. Depression of the eyelid is by no means to be taken as a mark of dulness or inefficient intellect. One of our poets, I think Churchill, no incompetent judge of human nature, has a line concerning Genius "lowering on the penthouse of the eye." Seurat, on any other that a common-place question, elevates his head to an ordinary position, answers immediately and with precision, and discourses rationally and sensibly; more sensibly than some in the room, who put childish questions about him to the attendants, and express silly opinions as to his physical and mental structure and abilities, and call him "a shocking creature." There is nothing shocking either in his mind or his face. His countenance has an air of melancholy, but he expresses no feeling of the kind; it is not, however, so mournful as the engraving at the head of this article shows The artist was timid, and in form and habit the reverse of Seurat; and as "like will to like," so through dislike to the life of the subject before him, he imagined more dolour in Seurat's face than it has; this could not be remedied by the engraver without hazarding the likeness, which is really good. Seurat's voice is pleasing, deep-toned, and gentle Except for the