Yet the strangest part of the whole matter was perhaps this, that Irvine was as beautiful as a statue. His features were, in themselves, perfect; it was only his cloudy, uncouth, and coarse expression that disfigured them. So much strength residing in so spare a frame was proof sufficient of the accuracy of his shape. He must have been built somewhat after the pattern of Jack Sheppard; but the famous housebreaker, we may be certain, was no lout. It was by the extraordinary powers of his mind no less than by the vigour of his body, that he broke his strong prison with such imperfect implements, turning the very obstacles to service. Irvine, in the same case, would have sat down and spat, and grumbled curses. He had the soul of a fat sheep, but, regarded as an artist’s model, the exterior of a Greek God. It was a cruel thought to persons less favoured in their birth, that this creature, endowed⁠—to use the language of theatres⁠—with extraordinary “means,” should so manage to misemploy them that he looked ugly and almost deformed. It was only by an effort of abstraction, and after many days, that you discovered what he was.