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 expression strongly prevalent in the countenance. The murderer and the lustful man are often alike in the physical structure. The bull-throat—the thick lips—the receding forehead—the fierce restless eye—which some one or other says reminds you of the buffalo in the instant before he becomes dangerous, are the outward tokens of the natural animal unsoftened—unenlightened—unredeemed—consulting only the immediate desires of his nature, whatever be the passion (lust or revenge) to which they prompt. And this animal expression, the witness of his character, was especially wrought, if we may use the word, in Houseman's rugged and harsh features; rendered, if possible, still more remarkable at that time by a mixture of sullenness and timidity. The conviction that his own life was saved, could not prevent remorse at his treachery in accusing his comrade—a sort of confused principle of which villains are the most susceptible, when every other honest sentiment has deserted them.

With a low, choked, and sometimes a faltering