at Madame Tussaud's as lively as my new master!"

Madame Tussaud's "people," let it be said, are of wax, and are much
visited in London; speech is all that is wanting to make them human.

During his brief interview with Mr. Fogg, Passepartout had been
carefully observing him. He appeared to be a man about forty years of age,
with fine, handsome features, and a tall, well-shaped figure;
his hair and whiskers were light, his forehead compact and unwrinkled,
his face rather pale, his teeth magnificent. His countenance possessed
in the highest degree what physiognomists call "repose in action,"
a quality of those who act rather than talk. Calm and phlegmatic,
with a clear eye, Mr. Fogg seemed a perfect type of that English
composure which Angelica Kauffmann has so skilfully represented on canvas.
Seen in the various phases of his daily life, he gave the idea of being
perfectly well-balanced, as exactly regulated as a Leroy chronometer.
Phileas Fogg was, indeed, exactitude personified, and this was betrayed
even in the expression of his very hands and feet; for in men, as well as
in animals, the limbs themselves are expressive of the passions.

He was so exact that he was never in a hurry, was always ready,
and was economical alike of his steps and his motions. He never took
one step too many, and always went to his destination by the shortest cut;
he made no superfluous gestures, and was never seen to be moved or agitated.
He was the most deliberate person in the world, yet always reached his
destination at the exact moment.

He lived alone, and, so to speak, outside of every social relation;
and as he knew that in this world account must be taken of friction,
and that friction retards, he never rubbed against anybody.