ABSTRACT
This chapter argues that Johann Caspar Lavater's attitude towards the physiognomical portraits changes. It discusses how Urizen's body strikes back by expressing itself in organic terms. Symptomatic of physiognomical portraits change is, on the one hand, the increase in illustrations generally, and, on the other hand, the neglect of the silhouette. In Physiognomische Fragmente Lavater bases his physiognomical judgements on the analysis of the profile-line captured by the silhouette. Lavater discusses the different features in isolation because all are part of one underlying design, the form of the skull. With his measuring, Lavater draws on a number of artists and anatomists. In the extended translation the role of anatomy increases when Lavater writes that the bones are 'the sketch of the human body', whereas the flesh is merely 'the colouring which relieves the drawing'. Whereas Lavater thought of the soul as the original form of the body, impressing itself into the body from inside, William Blake suspends the body–soul dualism.
