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PhysiognomyBY

Leila Lomax

HOW TO READ CHARACTERIN THE HEAD AND FACE ANDTO DETERMINE THE CAPACITYFOR LOVE, BUSINESS, OR CRIME

PhiladelphiaThe Penn Publishing Company

1920

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VCopyright 1905 by' The Penn Publishing Company

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Physiognomy

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Contents

CHAP PAGE

I Physiognomy 5II Utility of Physiognomy .... 15

III The Head and Face 20IV The Forehead 41V The Nose 48VI The Eye 60VII The Mouth and Lips 78VIII The Ear 87IX The Chin 96X The Throat or Neck 101XI The Skin 108XII Gait AND Gesture no

XIII Classification OF Types 121

XIV Ten Examples i45

XV Index to Personal Characteristics . 160

PHYSIOGNOMY

CHAPTER I

PHYSIOGNOMY

History of the Science.What it Aims to Accomplish.ItsAccuracy.General Principles of Physiognomy.

Physiognomy enables us to read the mind,character and temperament from the form of aman's features, the expression of his face, and theform, attitudes and movements of his body.

It is the science which reduces to method themeans by which character may be determined,and teaches us to form sound judgments byeliminating all sentiment and fancy in our esti-mates of men.The sensation of attraction and repulsion is

constantly felt, but often with ignorance of thecause, and with utter inability to support the in-stinct with a logical reason.A study of certain definite rules will enable us

5

6 Physiognomy

to prove the correctness or incorrectness of ovkfimpulses, and will save us many and grave mis-takes.

These rules are not based on vague theories,but are the result of the deductions and accumu-lated experience of scientists for centuries. Inall times philosophers thought highly of thisscience. The earliest known writers on the sub-ject were Adamanthus, of whom we know little

;

and Melampus, the Egyptian, B. c. 270, who wrotechiefly on physical deformities and their signifi-cance. The next writer of importance wasZopyrus, a contemporary of Socrates. His repu-tation rests chiefly on his facial reading ofSocrates, which though harsh, was acknowledgedto be true by the subject himself.

lamblichus tells us that the Pythagoreansthought so much of this science, that they wouldadmit none to their lectures unless they judgedfrom their whole external appearance that theywould be successful in learning.

Cicero mentions physiognomy as the art ofdiscerning the manner and disposition of menby observing their bodily characteristics.To Dalla Porta, in 1598, is due the honor of

practically laying the foundation of modern

Physiognomy 7physiognomy. His work, " Delia Fisonomia delThuomo," though able, is strongly impregnatedwith the superstition of his age.

In 1780 a collection of the early Greek authorson physiognomy was published at Altenburg,Germany, and is still preserved under the title of" Physiognomiae Yeteris Scriptores Graeci."

Lavater, a Swiss pastor, who wrote in 1741, isstill considered to be the greatest and certainlythe most prolific writer on physiognomy.Thouo:h somewhat diffuse and lackino^ inmethod, his mastery of his subject and thebeautiful drawings render the book of greatvalue.

The next great step forward was taken in180G, when Sir Charles Bell published his" Anatomy of Expression." Till then themuscles with regard to facial expression hadnot been fully dealt with. In 1874, Duchennebegan his experimental study of physiognomy.At first his ideas were not received with favor.Many physiognomists showed distrust of a workwhich reduced the study of physiognomy to anexact science. Duchenne argued that in ph3'si-ognomy neither fancy nor caprice nor inspira-tion had any part, but that all is subject to exact

8 Physiognomy

and precise rules which form its language, thoughpossible combinations are many and varied. Eachmuscle has an expression peculiar to itself, and is,so to speak, one of the syllables or words in thelanguage of physiognomy. Like every other lan-guage, physiognomy associates these syllables andwords to arrive at its expression.Physiognomy is one of the most absorbing and

fascinating of studies. The closer our research,the deeper our interest. It is the search-lightscience supplies for the reading of the soul.While its study trains our minds to habits of cor-rect reasoning and exact observation, it alsoteaches us a better understanding of the law ofcause and effect, thus engendering toleration andsympathy for those morally and physicallydeficient.

It is practically the only study in which therichest man has no advantage over the pauper.Money is not a necessary aid. Education mayhelp with its development ; but experience, lifeitself, is the only school in which a man can takehis final degree.

Certain natural qualities are necessary for thestudy, which may be strengthened by practice.The essentials are : 1st, observation ; 2d,

Physiognomy 9reason ; 3d, deduction ; 4th, application, andlastly, a great patience, for above all things ahasty judgment must be guarded against.Around us we have an unlimited supply of

subjects, no two of which are ever exact counter-parts, for nature loves variety. If we seat our-

selves in a street car, or in a window overlookinga crowded thoroughfare, an endless stream ofpeople passes before our eyes. Old and young

intelligent and imbecile, each with a history andprobable destiny as plainly depicted on his faceas the buttons on his coat. It is to the featureswe must look for knowledge of a man's character,and for indications of his will power and reason-ing faculties, to the imiscidar expression for hispresent thought, the intensity of his past emo-tions, and his control over them.The face is but the background on which we

ourselves engrave our history. As the returningocean wave makes its impression little by littleon the shore, so every recurring emotion, withits individual muscular movement finally leaveson the countenance its ineffaceable mark. Natureworks slowly, but as the years pass on, we findher handiwork has been sure. It is our own faultif we have not learned to read her cipher. " The

lo Physiognomy

faculties of mankind should be cultivated so asto enable them to judge of their welfare, and toprevent them from being the dupes and slaves ofothers."

In the sixteenth centur}^ Montaigne wrote onemotions thus: "You will make a choice be-tween persons who are unknown to you, youwill prefer one to the other, and this not onaccount of mere beaut}?^ of form. Some faces areagreeable, some are unpleasant. There is an artin knowing the look of good natured, weakminded, wicked, melancholic, and other persons."By reason of their expression the ugliest peopleare often the most charming. Brightness andanimation will completely transform while speak-ing, heavy features. Madame de Stael and Boi-leau are both striking instances of the charm ofintelligent expression on a plain face. To obtaina correct judgment, the physiognomist has tostudy the face while in motion, as well as inrepose. He should be able to diagnose the char-acter of a face as a physician does a disease. Indiagnosing insanity the eyes and mouth are con-sidered the two most important features.The celebrated Dr. Amariah Brigham was

once in the witness-box to give testimony as to

Physiognomy 1

1

the sanity of a prisoner held for murder, and aninteresting examination took place, which, bearingas it does on physiognomy, I reproduce here bythe courtesy of the publishers of the " Outlook."

" The theory of the defense was insanity, andthe examination took a more practical form whenthe counsel enquired as to the method pursued bythe witness in diagnosing insanity at sight. Thedoctor replied that he relied on the features ofthe patient, which he always attentively studied.

*' Which feature do you rely on in your diag-nosis ? " queried the counsel.

" 1 rely on no one feature, but study them as agroup," was the answer.

" Do you rely on the chin ? "'' No," he said." Do you rely on the nose ? "'' Partly."*' Do you rely on the ear ? "

"No," said the witness." Do you rely on the mouth ? "" Very much," said the doctor." Do you rely on the eyes ? "" Still more than on the mouth.""If then the face of this prisoner were con-

cealed all but his mouth or his eyes, you affirm

12 Physiognomy

that you could decide accurately whether or nothe is insane ? '*

" No, I do not state that. I must see all thefeatures at once," was the reply.

At leno'th the attornev-oreneral exclaimed withO >J CDstartling vehemence and emphasis on each word

:

" AVhat ! Do you affirm that you can diagnoseinsanity at sight ? "

" I do," was the calm, emphatic response." Point out then to the court and jury an insane

person in this building."

This challenge was the critical test of thecompetency of the witness. Dr. Brigham ac-cepted the challenge without a moment's hesi-tation, and with an air of reserved confi-dence. The spectators were awe stricken whenthey realized that the crucial test was to beapplied to them. Dr. Brigham rose from hischair very deliberately, and stood for a momentsurveying the people. Turning slowly to theleft or first tier of seats he began a deliberatesurvey of the spectators, scanning the features ofeach one with the apparent confidence that hecould detect the faintest trace of insanity. Hiskeen searching e\^es glanced from tier to tier ofseats. Five hundred faces had been scrutinized,

Physiognomy 1

3

and no group of individual features had respondedto the test. A greater earnestness and intensityof scrutiny became apparent in the witness.Deep furrows appeared on his pallid face, andhis eyes assumed a piercing brilliancy whichmade every one shrink on whom his gaze wasmomentarily fixed. Suddenly the wanderingeyes of the expert became fixed. His featuresrelaxed and assumed their customary impassive-ness. Stretching out his long arm, and pointingwith his finger toward a person on one of therear tier of seats, he quietly said, ^' There is aninsane man." At the instant a man, as if struckby a bullet, sprang wildly from his seat, andgesticulating and shouting a volley of oathsagainst any one who w^ould call him insane,rushed down the aisle toward the bar.The whole scene was intensely dramatic, and

the termination was a surprising ovation for thetriumphant actor Dr. Brigham. The man whowas pointed out as insane proved to be a harm-less lunatic who had strayed into court.The certainty and sureness with which the

doctor picked out his man in this instance, shouldbe at the command of every practiced physiogno-mist. The face speaks always. With the same

14 Physiognomy

unerring precision, he should be able to place hisfinger on the weak spot,tlie dominant vice.An absolutely unbiased mind is essential, free

from any feeling of like or dislike, or any im-aginary aversion to a special feature. On firstattempting the study of the face, different featureswill often appeal to present contradictory evi-dence. This is unavoidable till the proper bal-ance and proportion of the head is thoroughlyunderstood. It is only by study, perseverance,and comparison that we can attain to a masteryof this science.

CHAPTER II

UTILITY OF PHYSIOGNOMY

How it Helps in Business and other Relations of Life.

Detection

of all Shams.Successful Men Good Physiognomists.

There are few busy men and women who careto spend time over a study, however interesting,which will not repay them in some practical form.If a successful business man were asked whetherhe could read character from the features andexpression of the face, he would probably say," Well, I think I can size a man up well enough,though scientifically I know nothing about it."Most people have some degree of intuition,

and if in the habit of seeing numbers of mendaily, and transacting business with them, theyacquire, without any knowledge of physiognomyas a science, a certain facility in decipheringcharacter. There are few men who would beready to own that they were deficient in the

power of reading men, but that their knowledge15

16

Physiognomy

is very superficial and unreliable is evinced continually.

Do we not hear of and read daily in thepapers of trusted clerks and partners detectedin fraud, and clever men becoming the dupes ofplausible scoundrels?

It is impossible for a man to go through life,without forming a certain idea in his own mind,unconsciously, perhaps, of the kind of face he as-sociates with honesty, integrity, good temper, in-dustry, etc. In many cases his judgment is prob-ably right. The danger lies in the fact that be-ing guided by no definite rules, he is liable to bemisled by a sympathetic liking for an agreeableexpression and manner.The averse person finds it difficult to associate

deception and insincerity with a frank, open bear-ing and genial address, all of which can be su-perficially acquired by the veriest rogue. It isby their agreeable personality that most swindlersthrive. It is frequently " the last person I shouldhave suspected," '' the one man we thought wecould depend on," who cause the bitterest disap-pointment and loss. To the true expert in physi-ognomy misfortunes of this kind are impossible.

Lines and features, which all see but do not

Physiognomy 1

7

need, speak to him not of dishonesty, but of theinciting causes, greed, selfishness, and moral weakness.

We are all more or less governed by the sceptreof beauty, and the moral worth of an ugly coun-tenance rarely appeals to us. Moliere, Johnson,Schopenhauer, Talleyrand, all suffered intensely be-cause of their unpleasing exteriors. We have say-ings and proverbs extolling goodness at the ex-pense of beauty, but in reality, as we all find out,a pleasing face has most of the odds in its favor.Jurors have been biased, and judges influenced,by a frank manner and pretty face. What manis there who would readily believe wrong of awoman with a pretty mouth, and lovely smilingeyes?

*

' Beauty itself doth of itself persuadeThe eyes of men without an orator."

To all professional and business men a knowl-edge of physiognomy is absolutely essentialtothe financier, the merchant, the statesman, thephysician, the law\'^er. It is a study which shouldbe approached without prejudice, with a clear andlogical mind to draw conclusions by a study of es-tablished laws.

18

Physiognomy

We are all conscious that on looking at a facefor the first time we receive a distinct impression,favorable or the reverse.

Lavater says "sometimes at sight of certainfaces, I felt an emotion which did not subside fora few minutes after the object was removed."With some this impression is very marked, withothers it is so slight as to be barely perceptible.

If we see any one in the street with any markedpeculiarity of feature, we notice it, because it of-fends our sense of the usual. Its significancewith regard to character rarely troubles us. Thisis natural, but when we have to select a man orwoman for any special work, either subordinate orotherwise, it becomes absolutely necessary for usto know the true character and fitness of theperson w^e are about to trust or take into our em-ploy. Most of us are thrown daily and hourly intocontact with men of ev^ery kind of character anddisposition, and much of our fortune in life de-pends on our association with them.The men who have achieved success in life are

those who have been able instantly to grasp thesalient points in a man's character.The late Mr. Whitney is a case in point, as he

is known to have been specially happy in the

Physiognomy 19

selection of his subordinates. Having oncejudged that a man had the kind of ability re-quired for a certain purpose, he would train himwith the greatest patience, until he finallyjustified the original estimate of his capacity.Intuition of this kind is somewhat rare, andwhen possessed largely is certain to lead itsfortunate possessor to the top rungs of whateverladder he is endeavoring to mount. Every manhas his vocation, for which he is specially fittedby nature, and the varieties of occupation in-creaje yearly ; but how frequently we see roundmen in square ^oles, who perform their workwith Jtpathy, because it is not suited to their in-dividual temperament. There are men so giftedthat they are bound to come to the top in spiteof every obstacle, but the majority of peoplerequire congenial w^ork to develop their finestqualities. To know in what direction theirgreatest talents lie, would be the salvation ofmany.

CHAPTER III

THE HEAD AND FACE

How to Study the Face.The Relation of Character to Sizeand Shape of Head.Meaning ot Facial Proportions and otherPhysical Characteristics, and Their Indications.

The human countenance is such a complexstudy that in analyzing a face, the physiogno-mist should be careful never to give a definite

opinion without having thoroughly examined allthe features individually, and also their relationto each other. The slightest difference in theposition of any organ will alter the balance of

the face, and unless extreme caution is exercised,even a trained eye may easily be deceived. ITan analysis is made from a photograph, asilhouette or photograph of the profile is neces-sary as well as the full face.

In reading character from physical charac-teristics the points to be observed should begrouped as follows :

1. Proportion of head and body.20

Physiognomy 21

2. Shape of head, and position.3. Harmony and balance of the features.(a) The lines and contour of the face, full and

three-quarter views.

(b) Also the curve and relations of the parts,especially the eyelids viewed in profile.

4. Texture and color of the skin.0. The features, commencing with the fore-

head, nose, eye, mouth, ear and neck.6. Gestures and movements of the body.In order to judge properly, and to apply the

proportions of the skull to the reading of char-acter, we should note

:

(a) The relation of size of the head to thebody.

(h) The line from nose to crown of head.(c) The cephalic index.(d) The facial angle.

1. Shape and Size of the Skull in Rela-tion TO Character.

The head, in spite of its bony substance, isunder the influence of a multitude of phenomena,some its natural actions, and others of a moreindirect action, w^hich still leave the deepest im-

pression.

22 Physiognomy

In the body, as in all forms of nature, we findthat a harmonious relation of parts is necessaryto a perfect whole. Proportion is but one modeof expression of beauty, physical and mental.Any one part or feature, if abnormally developed,detracts from the uniform symmetry of thewhole.

In considering the head, we should ascertain

not only whether it is by its size in harmonywith the rest of the body ; but also the size,and relation that each part of the skull bears tothe others.

The head should be neither too wide nor toolong (Fig 1). A very wide head indicates alarge development of the selfish propensities.

Fig I. Well balanced forelieafl. showinf!; energ}^good ability, but not much imagiuationa prac-tical head.

Physiognomy 23

Too long, a lack of reasoning power. A verybulky head denotes stupidity. A very small oneweakness.

If we take three or four heads at hazard, andexamine their contour, we shall find immensedifferences in size and shape. These differencesYesult from the development or non-developmentof the organs contained in the skull or cranium.The skull consists of two parts very intimately

connected, the first part formed of flat bonesthe eranium, containing the brain, the organof intellect : the second inferior part formed oimany ver}' complex bones, the /acethe seat ofthe organs of the senses.Buchanan says: "The development of the

skull corresponds in general to the developmentof the brain, and vrhere the brain is uniforndyactive in all its parts, the outline of the skull

will indicate the true outline of the character,

but in proportion as special organs have beenover active or torpid, the character will departfrom the outline of the cranium. This is mostoften observed in criminals, and in the un-educated and vicious, in the very old, and dis-eased. In the young and healthy, and in thoseof active well trained minds who have not been

24 Physiognomy

placed under any influence which might distortthe natural character, we observe the most per-fect acordance of the skull and character. Gen-erall}' speaking the greater the length of the head,the greater the intellectual powers, while energyand activity are indicated by the breadth.Every noticeable concavity in the profile of thehead denotes weakness of mind, and of somespecial organ.

The brain being susceptible of an indefinitenumber of modifications, education and otherinfluences can change the form of the skull byincreasing or diminishing the various organs ofthe head. In the animal world we see manyinstances of special senses abnormally developedfor the purpose of self-preservation. In man the

senses are rarely possessed, if ever, by one personin an equal degree of perfection. In the sameway no one is ever found universally talented.

Frequently the loss of one sense will renderthe others more acute. A blind person will havethe senses of touch and hearing highly de-veloped. The cultivation of any one sense isinjurious, " and the circumstance of being acutelysensitive to one or two leading senses, may rulethe entire character, intellectual and moral."

Physiognomy 25

If any organ is unusually developed it isnecessarily at the expense of some other.When we find a brilliant mind becoming thedupe of some ignorant person, by reason of hisintense credulity, we trace the cause to the

irregular development of the organs of the head,the non-development of the organs of sagacityand common sense. A man brilliant in mathe-matics is rarely known to excel in languages.There are many instances of men taking honorsin classics, and yet being totally unable tomaster a simple sum in fractions. If the regionof ideality is too highly developed, the subjectsuffers correspondingly from a lack of practicalpower.

2. Kelation of Head to Body.The height of the head varies from eight and

two-third inches to nine inchesthe variationsnever going below eight and one-fourth inches,nor rising above nine inches. In circumferencethe average adult head measures from twenty-oneto twenty-five inches. To measure a head : Takethe line round the centre of the forehead and themost developed part of the back head. It isnecessary for the body to be of an adequate size

26 Physiognomy

Head of Hermes, showing ideal (lieek proper tioui oi lie ad auoshoulders.

Physiognomy 27

to support the head, otherwise the mental powerw411 suffer. A full sized healthy body is very es-sential to the support of the brains. Malnutri-tion will cause weakness of some organ whichwill manifest itself in the character and disposi-tion.

The weight and height of the body must there-fore be noted. The right weight for a man whosehead measures twenty-four inches in circumfer-ence should be 180 pounds. A woman whosehead is twenty-two inches in circumference shouldweigh 130 pounds. Yitruvius considered theright height of a head to be the eighth part of thewhole bod}', and this measurement is generallytaken to be approximately correct. The cele-brated statue of the Dying Gladiator measureseight heads, while the Apollo measures seven andtwo-third heads, and the Antinous seven and one-half heads. As the height increases the head be-comes shorter.

3. The Line from Nose to Crown.

In order to show the relation that the form ofthe head bears to intellect and morality, an im-aginary line should be drawn (Fig. 2), dividing

28 Physiognomy

Fig 2. A. Comprising region of intellect, goodness, power,B. Comprising region of animalism, violence, feebleness.

Physiognomy 29

the head into two regions, the base of the linestarting at the under cartilage of the nose, andending at the extreme point of the parietal. Acomprises the region of intellect, reason, good-

ness, perception, power, and B comprises ani-malism, violence, feebleness, lack of self-con-

trol.

It will thus be seen that the moral sentiments,the perceptive, and the reflective faculties are in-dicated by a high full head in the upper half,while animal and selfish propensities are shownin a large development of the back of the head,and great width between the ears.

4. The Cephalic Index.Scientists have described the measurement of

the transverse and antero-posterior diameter of theskull by the name of the cephalic index. By thisindex we understand the number which indicatesthe proportion between the shorter or greaterlength. It enables us to distinguish the charac-

ter of different crania in the various races of the

world ; and thus to draw conclusions from theirphysical form, as to the degree of intelligence

and capacity for sensation.

30 Physiognomy

By means of the cephalic index a skull may beplaced in one of three general classes:

1. Dolichocephalic and dolicho mesocephalift(long). Caucasian or white races.

2. Brachycephalic (broad). Mongolian or yel-low races.

3. Mesocephalic and meso-brachycephalic (me-dium). Ethiopic or black races.By this classification we obtain a general idea

of the different relations the three great races of

the world bear to the organs of sense and intel-lect.

In the dolichocephalic and dolicho-mesocephalicor Caucasian type the face contains organs of senseof moderate size. The cerebrum is broad andhigh, the occipital region, moderately developed.We thus obtain these characteristics; intellectlarge., power of will and activityy'aV/', sensibility^mall.

In the brachycephalic or Mongolian type theorgans of sense are distinctly small ; the cerebrumis wide and flat, the occipital regions much de-veloped. The marked characteristics are : smallcapacity of sensation ; intellect moderate * motiveforce strong.

In the mesocephalic and brachy-mesocephalic

Physiognomy 31

or Ethiopian type the organs of the face arestrongly developed ; the cerebrum is long andnarrow, and the occipital region moderate. Thecharacteristics are : extreme capacity for sensa-tion

;perception keen y motive force "oery weak.

5. Classification of Faces.

When we seek the face denoting the highestform of intellect and morality, we find it in thetype furthest removed from the animal. In theearly stages of any race, man is but the merebrute, with the primitive instincts of self-preser-vation, hunger, vengeance ; it is as he progressesthat his emotions become complex and his intel-lect develops and sense organs recede.The reduced size of the jaw is one of the

most marked features of this change. The dif-ferent classes of faces, showing the differentstages of development, are as follows

:

1st. Prognathouscharacterized by promi-nent jaws, thick lips and receding forehead. Thetype of the lower races, such, for instance, as thePapuan.

2d. Orthoijnatlious. The face of the higherraces.

32 Physiognomy

8d. EiirygnatJioiis. A third type, where thecheek bones are very prominent, peculiar to theChinese, Japanese and other branches of theMongolian and Turanian races. This classifica-tion relates to racial characteristics.

6. The Facial Angle.In comparing the different shapes of the head

amongst various races^ Camper's famous facialangle will be found of the greatest assistance.

Camper's idea was that the more prominentthe skeleton of the face, the less the skull of the

forehead is developed. The angle is determinedby two lines on a head seen in profile (Fig. 3).The first line is drawn horizontally from the ex-ternal auditory canal to the extreme base of thecartilage of the nose. The second line, more orless oblique, is drawn from the base of the noseto the most prominent part of the forehead.By these two lines we have the angle which thegeometrical plane of the face makes with that ofthe anterior part of the skull. We thus obtainan idea of the relative proportion of the space oc-cupied by the brain and face."The angle which the facial line or character-

istic line of the visage makes varies from seventy

physiognomy 33

Fig. 3. Campei's facial augl.

34 Physiognomy

Fig. 4. Camper's facial augie (obtuae).

Physiognomy 35to eighty degrees, in the human species. Allwho raise it higher disobey the rules of art (fromimitation of the antique); all who bring it lowerfall into the likeness of monkeys (Fig 4.) Thefacial angle of Camper averages eighty degreesin the Caucasian race, seventy-five degrees inthe Yellow or Mongol^ sixty to seventy degreesin the negro, thirty-one degrees in the greatGorillas, twenty-five degrees in the head of aNewfoundland dog."^

7. Proportion of the Face in Kelation toCharacter.

The face should be of a perfect oval, but itsshape is largely determined by the form ofthe skull beneath. To judge of its proper size:Take the whole perpendicular height, from theextremity of the occiput to the point of thenose. It should be considered in full and in pro-tile, when the lines are distinct and clear cut.

8. Division of Face Into Three Parts.To arrive at an exact judgment of the propor-

' Pierre CamperDissertations sur les dififereuces que pr^-eutent les traits du visage chez les bommes 1786.

36 Physiognomy

tion of a face divide it into three equal parts byhorizontal lines (see sketch). 1st. From top offorehead to eyebrows. 2d. From eyebrows tothe lower extremity of the nose. 3d. Fromthe lower extremity of the nose to the point ofthe jaw bone.

If these divisions are in absolute proportion,the appearance of the face will be symmetricaland the character evenly balanced (Fig. 5).Very few people have features in absoluteproportion and it is thus we get originalityof character and diversity of disposition.

9. Meaning of Breadth in Face AcrossCheek Bone.

A large breadth of face in the upper part ofthe cheek bone, when the forehead is narrow,indicates pliability and weakness. It adds to tliebeauty of a woman's face, while for a man de-velopment in the forehead is necessary to givepower.

10. Fulness and Hollowness of Cheek.In reading the face, we have found the centre

of the cheek to be one of the first parts on which

physiognomy 37

Fig. 5. Three divisious giving correct proportion of face.

character leaves its unmistakable marks. In ayoung child we see a round lovely contour. By

38 Physiognomy

imperceptible changes as age advances the cheekbecomes hollow. The longer the smooth ro-tundity of cheek is preserved, the more certainwe may be that the slings and arrows of outra-geous fortune have not fallen in the happy owner'sway, or that selfishness has formed a shield. Inall men of strong character and great mental in-dustry we see a hollo wness of the cheek more orless marked. Indolence and a])athy^ or energyand industry are denoted by the absence or pres-ence of this peculiarity. Contrast the face ofan old soldier who has seen much active serviceand the round full physiognomy of the man ofease.

11. General Summary of What May BeKead in Shape and Size of Head andFace. Virtue and Vice, Intelligenceand dulness.

Within the limits of any well defined group ofbeings, we meet with every form of variation inthe matter of beauty. " Beautyis it not sub-ject to the caprices of the senses, the climate andof opinion ? " The ancient Greeks aimed at theideal in beauty and rejected all that was too in

Physiognomy 39dividual, and yet though we admire the coldperfection of a sculptured Antinous, we turn withrelief to a less perfect and more human face.Many faces are entirely dependent on expres-sion for their beauty. Others show theirgreater beauty in repose, because of the perfec-tion of their features. In an intellectual face, the

muscles are always mobile and ready to expressthe slightest emotion. A continued panorama ofthoughts pass and repass. The superiority of thehuman face over the animal is due to the numberof these muscles provided in man. The energeticface has the mouth tightly closed, the chin ad-vanced. With people of weak will the face is al-ways relaxed,the mouth slightly open, the eyewandering and uncertain.There are certain general physical character-

istics which indicate virtue and vice. Peoplewith good intellectual capacity and high moralstandard have well developed heads, oval in shape;broad large foreheads in good proportion ; largeeyes, well shaped ears, prominent noses, strong,firm jaws, rather large mouths, and all organsrelatively in position.

Dull, slow witted and vicious people have smallheads developed in the lower occipital region,

40 Physiognomy

and flat in upper part of crown,small eyes, nar-row and receding foreheads, ears irregular in con-tour, with heavy lobes, prominent muscular jaws,and concave noses.

CHAPTER IT

THE FOREHEAD

Formation of the Forehead.The Height, Width and ArchWrinkles.

12. Formation of Forehead.The shape of the forehead is formed by the

frontal bone. This bone, which includes thewhole region from the root of the nostrils to thetemporal bones at the sides, and from the tem-poral bones to the centre of the corona, consists

of two parts.These parts, or bones, do not become thoroughly

joined until some years after birth. All theeight sections comprising the cranium, of whichthe frontal bone is one, are connected bv seamsor sutures. It is by means of these sutures thatthe brain is able to develop and expand, if exer-cised. Hence, the immense influence of educa-tion in developing any organ, and thus changingthe form of the head. Those who exercise theirbrains Avill have a proportionate development,

especially of the frontal region. The shape of41

42 Physiognomy

the forehead shows the power of the intellect, thewrinkles or lines (horizontal and perpendicular)show how we utilize it.

13. Height, Width and Arch.The proportionate height of a forehead is a

third of the entire face. If it be too high theindividual is liable to go to extremes, to be domi-nated by his imagination. If of considerablemeans he will be a philanthropist, and will givelargely, but without judgment. If too low, alack of moral and intellectual power is indicated.The greater the height of a forehead, the less wefind of energy, activity, while a hroad, low fore-head shows quickness, alertness, and commonsense.

14. The Breadth.The hreadth, or width from side to side of the

frontal bone, should be twice that of the perpen-dicular height. With a good breadth of foreheadthe subject will possess powers of concentration,energy, practical common sense, mechanicalgenius. Most foreheads have a transversecavity, more or less slight, crossing the middle ofthe forehead. This practically divides the fore-

Physiognomy 43head into two halves. The upper is the regionof inspiration, imagination, ideality, love oi" hu-manity. The lower half shows the qualities ofperception, music, color, reason, logic, calculation.This is the physical region, the region of materialand financial affairs.

15. The Arch.Observation soon shows us that the arch, or

contour of the forehead as seen in profile, variesgreatly with each person. A perfect and well-proportioned arch invariably denotes clear andsound intellect, and a love of justice. A tooprominent forehead, bulky and ill-shapen, indi-cates stupidity, while one that is perfectly perpen-dicular from hair to eyes is an indication of aweak mind. If the curve of the forehead is evenand high, and the bone of the eye forms a finearch and is well-marked, the individual is above theaverage both intellectually and morally. In theheads of philosophers, inventors and deep think-ers, the forehead often projects over the face,receding slightly at centre. This has the effectof making the eyes appear deep sunken. Theseprominent brows invariably indicate immensecapacity for hard work and great sagacity.

44 Physiognomy

In tlie sketch (Fig. 6) showing four differentforeheads, No. 1 shows the forehead of an idiot.No. 2 shows the forehead of a man of intellect,

Physiognomy 45both reason, logic, ideality and benevolence arewell developed. It is well balanced.No. 3 shows also the forehead of an intellectual

man, but with less of benevolence, no veneration,and too much self-esteem.

No. 4: shows an inferior order of intellect.Cunning and a good deal of sagacity are indi-cated, but the region of inspiration and spiritu-ality is very low, and great selfishness is marked.The heads of criminals generally possess nar-

row, receding foreheads, low, knotty, iregular inoutline, with a flat corona.

16. Wrinkles or Lines on the Forehead.The two principal wrinkles or lines in the fore-

head are the two vertical ones which lie betweenthe eyebrows. They are produced by the actionof two muscles, the "corrugator supercilii," andthe "occipito frontalis." Their presence, moreor less conspicuous, indicates thought, concentra-tion of ideas, impatience, anger, doubt.

In all faces where the mind and intellect domi-nate these lines are very marked. In cases wherethey are chiefly produced by anger and impa-tience, they are slightly shorter in length. Theyare the characteristic signs of energy and applica-

46 Physiognomy

tion. Vertical wrinkles are one of the greatestindicators of reflection, tlie evidences of tliought.

A perfectly smooth unlined forehead is alwaysfound in people of weak minds.

17. The Horizontal Wrinkles.These denote a reasoning, logical mind, but

vary in their indications according to positionand length. When the lines are short, and veryunequally marked (see sketch) there will be awant of continuity and sequence in the man's ac-tions and work. They will lack finish. If thelines form short, thick folds, irregular and knot-ted, it shows a certain brutality and coarsenessin the nature. There will be a good deal ofenergy, and force in the character, but the sensi-bilities will be blurred. Lines sloping upwardto a point are sometimes seen, but are not afavorable indication. They are a sign of cun-ning, intense slyness, finesse carried to excess.If the lines curve round to the temples, greatdiplomatic talent and tact are indicated. Amass of tiny lines crossing the forehead shownervous irritability, lack of force and stability.A number of short horizontal lines, well markedand clear are signs of an indolent nature and

Physiognomy 47weakness of mind. These well defined lines extending across the whole breadth of the foreheadhorizontally, and two deep vertical ones are sureindications of good judgment, and a mind abovethe average capacity.

Occasionally a man will have some short oblique lines between the two vertical wrinkles.

Fig 7. The head of a dreamer. Toomuch imagination, want of balance.Lacks force and sequence of ideas.

This denotes great genius for originating and in-vention. The tension and regularity of thewrinkles vary with the force and poise of thecharacter. Corneille says, " The fame of his greatdeeds is engraved in the wrinkle on his forehead."

Arched and intersecting wrinkles situated inthe middle of the lower region of the foreheadindicate physical and mental suffering.

CHAPTER YTHE NOSE

General Remarks.Classification into Three Primary, andFoutSubsidiary Classes.Indications for Reading the Nose.

18. General Remarks.The Chinese have a proverb which says, "gaze

at a man's nose to know what he may be, at hismouth to know what he is." Like a sign-post thenose stands on the map of the face, where it isthe indicator primarily of will power andforce.

Such characteristics as wit, refinement, intel-lectual capacity, reserve, curiosity, love of luxury,suspicion, cruelty, are all denoted by the shapeand size of the nose. A large nose, provided thehead is well balanced, denotes a strong characterwith good mental abilities, reasoning powers, etc.If we look on the portraits of famous rulers,statesmen, generals, in fact of successful men in

all times, we find that they invariably possessedprominent noses. A weak will and poor intellectare the characteristic of a very small nose.

48

Physiognomy 49According to Lavater, a beautiful nose is never

seen associated witii an ugly face. He thus de-scribes a perfect nose (ttie qualities in parenthe-

ses are the writer's)." In the perfect nose, the length should be

equal to the forehead " (strength of will, deter-mination). "Seen in front the arch should bewide " (reason), " and with its sides almost par-allel " (magnanimity). " Point of the noseneither sharp, nor fleshy, the lower contour pre-cisely outlined, neither too narrow nor too wide "

(refinement, self-control).Amongst the different races of the earth, the

length of the nose is in exact ratio to the mentalcapacity. It is at its shortest in the negro race,the Esquimaux, the Aborigines of Australia, andthe Papuans, among whom the nose is sometimesso flat that it does not protrude beyond the pro-tile of the cheek. In the Mongolian, it is a littlelonger, and in the Caucasian it is at its longest.The Hindu sculptures show^ us that the earliest

races in India employed in their art three dis-tinct types of noses to denote certain qualities.These three types, the straight, the convex, andthe concave, are constantly repeated in their

statues of Brahma, who is generally represented

50 Physiognomy

with three heads (tiie Hindu Trimurti) eachtypical of a certain temperament. Tlie centre

one Brahma^ the Creator, is shown full face, thenose concave, with wide nostrils to indicate thematerial side of life, geniality, sensuality andforce. Shiva, on the right, the Destroyer, the

Annihilator, has the convex, aquiline nose.

Vishfiii, on the left, the Guardian of Peace, thePreserver, the Defender, has the straight per-pendicular nose of beauty. In Assyrian andChaldean sculpture, when the warrior kings wererepresented as gods, the noses are aquiline, the

nostrils sharply cut, with an exaggerated wideness

of curve to denote fire and courage. In Egyptianart. Pa Harmakhis, the sun god, king of Egypt,is pictured with a straight nose, broadening intovery wide nostrilsa combination of the divineand the human.

In America, there is a marked difference be-tween the nose of the red Indian, thin, convex

and pointed, and the nose of the Aztec, as shownon the sculptured figures which remain to us,where the feature is straight (more resemblingthat of the Egyptian), gradually broadening to awide and fleshy nostril.One often hears the expression, *' Turning up

Physiognomy 5

1

the nose in contempt"; it is- literally impossibleto do this. The expression which we call a dis-dainful one is caused by one of four muscleswhich control the nose. This muscle [Levatorlahii sujperioris et alee nasi) acts from above,both on the nostril and upper lip, and has a mostpowerful effect in expression.

In moments of great excitement we sometimessee the nostrils dilate and quiver. This is causedby another muscle (the compressor nasi) whichraises the lateral cartilage, causing the nostril to ex-pand. To produce an expression of half amuseddoubt by raising one nostril, we employ a thirdmuscle (the orhicularis nasi) which runs up underthe edge of the nose. Another (the depressoralee nasi) influences the cartilage of the nostril

;

it depresses the point of the nose, when inthought or anxiety.

For the purpose of physiognomy the nose maybe considered under seven classes, of which threeare primary and four subsidiary.

Primary Classes.(1) The Greek, or straight nose.(2) The Roman, or convex nose.(3) The concave nose.

52 Physiognomy

Subsidiary Classes.

(1) The broad-nostriled nose.(2) The hawk, or Jewish nose.(3) The pointed, or acute nose.(4) The retrousse, or snub nose.

19. The Greek Nose. -This nose (Fig 8) represents the Greek ideal of

Deauty. It descends in a straight line, slightlybroadening in a harmonious curve atthe base. The nostrils, lightly curved,and divided equally by the profile ofthe upper lip. Such a feature indi-cates a self-contained, refined, sensi-

tive nature. With this type of nose,

Pj^ g when the nostrils are narrow and theGx-eek uose. lobes thin, the passions are rarely

strong. The temperament is artistic and poetic.There is a strong tendency to romance andsentiment, and a lack of practical talent. Cold-ness and egotism are often characteristics. In-tense fastidiousness is also denoted.

20. The Koman Nose.The aquiline or convex nose (Fig. 9) is only

seen in the highest race type. It is large, the

Physiognomy 53convexity very pronounced at the bridge. It isessentially the nose of the fighter, and is ac-companied by a development of theorgan of combativeness. It indicatesgood judgment, power of organizationand great determination. It also de-notes a tendency to domineer and im-patience of control. Nearly all thegreat warriors of the world have pos-sessed this type of nose, and it is seen p^^ also in women of commanding natures. Roman nose.When accompanied by a weak, receding chin andforehead, this nose indicates inordinate vanity.The aquiline nose denotes a strong will whichstruggles to attain its desires at all costs. It isthe characteristic of the ruthless, the relentless,the inexorable.

21. The Concave Nose.The concave nose (Fig. 10) forms

an inward curve, more or less deep,between the bridge and the upperpart of the wing of the nostril.This peculiarity denotes some lackof power. A marked concavity inany part of the bony structure of the

Concave nose, head is an unerring guide in this

54 Physiognomy

direction. The owner of a concave nose may becharming, genial and lovable, but he will rarelyif ever attain eminence in any walk of life or leadothers. Fixity of purpose and invincible deter-mination will always be lacking. Both aims andideals will not be high. Loquacity, cheerfulness,inquisitiveness, are characteristic qualities of this

type. The development of intellectual power isretarded by inability to concentrate want ofreasoning power.

22. The Broad Nostriled Kose.Starting from under heav}^ and

pronounced brows, this nose grad-ually widens below the bridge,ending in a thick tip. The nos-trils round and full, and the lobesfleshy and broad at the wing(Fig. 11).With this nose we find clear

Fig. 11. Wide perception, power of concentra-nostnJed nose. Hon^ logic and reason. Quick de-

cision in thought and action, and frequently rapidand fluent speech. Tnis is the nose of the philos-opher, the deep thinker, the mathematician, theoriginator. It expresses breadth in thought and

rhysiognomy 55iction, geniality, a love of the practical ratherihan the ideal.

23. The Hawk or Jewish Nose.This peculiar nose is universally regarded as

typical of the Semitic race, who from time im-memorial have always been distinguished by thischaracteristic feature (Fig. 12). In the time ofMoses, a flat or insignificant nose was consid-

ered as a deformity, and its pos-sessor not deemed worthy to evenpresent an offering at the altar

(Lev. 21 : 18). Convex in shape,the nostrils sharply cut, this noseresembles the beak of a bird. It isusually abnormally large, and doesnot harmonize with or balance the r^^^l^^'Jewish nose,other features. Intellectual powerand talent are indicated, and capacity for con-centration, also aggressiveness, coarseness, lackof refinement, and the pointed contour speaks ofcruelty and disregard of the feelings of others.

24. The Pointed or Acute Nose.The pointed nose is thin in substance, the skin

tightly drawn over the bone. It descends in a

56 Physiognomy

straight line from under the brow to a sharppoint (Fig. 13), the nostrils forming almost a

right angle. Sometimes there is avery slight convexity at the bridge.With this type we find narrow-

ness of outlook, egotism and refinedcruelty, a cruelty which will tortureby word or deed, exacting the ut-most limit of suffering. Fanaticsfrequently possess such a feature.

Pointed nose. When accompanied by a well-de-veloped forehead, the individual will

be a dangerous member of any community, as hewill possess the power to plan and the nerve tocarry out his desires.

Hogarth in his prints and David in his well-known pictures at the Louvre have both givenadmirable illustrations of this type. In this noserevenge is one of the special qualities denoted.

25. The '* Retrousse " or Snub Nose.This nose bears such a close relation to the con-

cave nose, and their characteristics are practic-ally identical. Where the bone is exceedinglyshort, widening into a large, fleshy nostril, we havethe ordinary snub nose. It denotes lack of will

Physiognomy 57power, a great deal of aggressiveness, impudence,cheerfulness. When the tip is not too thick, wit

and humor are indicated. A squarethick tip denotes a certain doggedhonesty (Fig. 14). The retrousse nosehas been called a dangerous little nosein a woman. A French writer says,"A little nose retrousse may over-throw the laws and government of anation. The lack of force and deter-

FiG. 14. mination so necessary to a man rendersSnub nose,

^i i i .1 1 the woman but the more charmmg.The saucy tip-tilted nose is almost the only typepoets have deigned to sing of and extol."

"A browMay blossom, and a cheek of apple blossomHawk eye, and lightly was her slender noseTip-tilted like the petal of a flower. '

'

26. Qualities Indicated by Shape ofNose.

Qualities, Indications.

Artistic taste, culture, Greek nose, long and straight withrefinement small narrow nostrils.

^ , . Long nose, broad at bridge. TheCommon sense, logic ^>^^^ ^^ ^^^

Curiosity Concave nosetip upturned.

58 Physiognomy

Coarseness

Energy

Economy, love ofmoney

Originality

Broad nostrils, shapeless andfleshy.

Long narrow lobes, wide at root.

Thin nostrils, long pointed nose.

This is shown by the dividingcartilage descending betweenthe nostrils.

Fig. 15.Revengeful nose.

Fig. 16.Argumentative nose.

Love of luxury, lazi-ness

Imitation

Loquacity

Generosity

Caution

Flippancy

Beservc

Marked depression at the root.The nostrils slightly curvingupward.

Cartilage thin and pointed.

Concave nose, wide at tip.

The bridge thin, the nostrils broad.

A thin pointed tip. Flat nostrils.

Short concave nose.

Long "nose, slightly drooping attip.

:,>V-/

Physiognomy 59

Subserviency

Enthusiasm

Authority

Chastity

Self-confidence, blunt-ness

Sensuality

Reason

Melancholy

Pride, sensitiveness

Argumentativeness

Large wide nostrils, slightly up-turned tip.

Convexity near bridge.

Two or three short transverse linesat the root.

Long nose with finely cut small,thin nostrils.

Wide nostrilsthick.

Broad oblique nostrils, ascendingthe side of the nose like a slit.

The root of the nose broad.

Concavity at the root, drooping tip.

Nostrils which dilate, and con-tract readily, slight upwardcurve.

Thickness over bridgeslightlyupturned tip.

CHAPTER VI

THE EYE

Its Form, Color, and Expression, and How to Judge them.

In reading the eye there are five points to becarefully noted, as follows : I. The form of theeye, and its position in the head ; II. The eye-lids; III. The eyebrows; TV. The expressionwhich includes emotion displayed and the castor squint, and Y. The color of the iris.

27. Form of the Eye.The race of the individual is generally in-

dicated by the form of the eye, which variesgreatly. There are round eyes, prominent eyes,lozenge shaped eyes, horizontal eyes, obliqueeyes.

In the Eastern and Semitic races we find thealmond shaped eye, also among the Moors andSouthern Spaniards. It is accompanied byhorizontal eyebrows and long lashes. In theSaxon and Teutonic races the eye is round

60

Physiognomy 6i

(Fig 17) but not very large. In the negro race,it is round, large and prominent (Fig 18). Inthe Mongol and Esquimaux races the e3'es aresmall and oblique, the inner angle of the eyebeing lower than the outer (Fig 19). Thehorizontal eye is found in all parts of the world.

Fig. 17.

Flu. 18

Fig. 19.

Fig. 20.

It is a product of a mixture of races (Fig 2i>).The appearance of a deep sunken eye is some-times caused, when the brows are very marked,and overhang the eye, also by emaciation anddisease.

28. Position in the Head.The position of the eyes in the head is of im-

62 Physiognomy

portance. When the eyes are unusually farapart, the subject will have great powers ofobservation and a good memory for places, faces,etc., but he will be deficient in logic and reason.He will be inclined to be foolhardy, and torush into danger without sufficient cause. Thistendency may of course be greatly modified ifthe forehead is good, and the head otherwisewell balanced.

Eyes which approach the nose closely give asingularly disagreeable expression to the face, inmany cases presenting almost the appearance ofa cast in the eye. This peculiarity indicates anature inclined to be narrow in its outlook onlife. The subject is unable to conceive or carryout any enterprise on a large scale requiringcourage and ability to organize. He will oftensucceed well in a position dealing with a massof details, minutiae of all kinds. When the dis-tance between the inner angle of the eye andthe bridge of the nose is great, it is a sign ofimmense tenacity of purpose. A large develop-ment immediately under the brow indicatesgreat perceptive faculties. The proper position^or the eye in a face of perfect proportions is

Physiognomy 63

the exact middle between the apex of the frontaluone, and the point of the lower jaw.

29. Eyelids.

Besides the actual shape of the eye, we haveto study the eyebrows, the eyelids and the eye-lashes. No two people have any of these partsalike, and any one who has observed faces care-fully knows that the color, form, set and posi-tion of the eyes and their appendages varygreatly. Many eyes owe their beauty to thedrooping lids, which give softness and shade tothe eye. The eyelids are thin, movable folds ofintegument, and act as a protective curtain tothe eyeball. The upper lid is furnished with aspecial elevator muscle and is the larger andmore movable of the two. Eyelids can be short,or long, wide, fleshy, wrinkled, etc. The upperlid should not be long, of medium thickness, andnot highly colored. A heavy w^rinkled fleshyeyelid denotes stupidity. When the eyelid formsa heavy fold, crossing the eye obliquely, it de-notes shrewdness, dissimulation and craft. Ifthe outer angle of the upper lid is much wrinkledit indicates a merry and sociable disposition.Kedness of the lids tells of lack of power both

64 Physiognomy

mental and physical. When the cilia or eye-lashes are long it is one indication of deceit. Ifcounteracted by the other features, it merely im-plies tact. Short thick eyelashes denote firmnessand strength.Buchanan tells us that " Imagination " and

"Ideality" "are at the external margin of thelower lid. The general fulness of the lower lidadds much to the richness and intellectuality ofthe countenance. It is often seen among men ofdistinction, whose intellectual pursuits have beenof active, laborious character, and have been ac-companied by a great deal of social intercourse."Lavater judged much from the curve and thick-ness of the lids. " He did not consider he haiJlooked at a man till he had noted the contour ofthe upper eyelid and considered it in profile."" Often no more is necessary to measure approxi-mately the intellectual qualities of a child."

30. Eyebrows.Their Characteristics.Formerly the eyebrows were considered to be

great indicators of character. Pliny mentionsthat elevated brows show dignity and pride.Seneca is said to have had " censoriimi sitpercil-ium^'* an " eyebrow worth}^ of a censor." Buffon

Physiognomy 65

declared that " after the eyes, the features whichcontribute most to mark the countenance arethe eyebrows."The eyebrows consist of an arched eminence

of the skin, supporting a more or less abundantgrowth of hair. The hair may be thick or bushy,or it may be entirely absent. It may meet onthe bridge of the nose, or the interval may oewide. As a rule the hair is dark when the eye-brow is very thick. With blondes the hair isscantier, soft and silky. A perfect eyebrowshould make a graceful arch, thicker at its inter-nal extremity, and terminating in a fine point atthe other end. Force of character is generally

indicated by a thick eyebrow.

31. How TO Read the Eyebrow.(1) A clear thick eyebrow, overshadowing

but not bushy, shows good ability and understand-ingnot much originality. Statesmen, organi-zers, lawyers, frequently have this eyebrow.

(2) Horizontal, thin eyebrows, strong mindand clear understanding, coldness of tempera-ment.

(3) Long, bushy and waving eyebrows, capacious memory and ingenuity.

66 Physiognomy

(4) Strong black eyebrows, lying close overlarge eyes, if accompanied by a bony andwide forehead, indicate a love of revenge, fre-quently also a strong tinge of brutality.

(5) Eyebrows meeting over the nose, so muchadmired in eastern beauties, were formerly con-sidered to denote craft. This opinion is nolonger held, as the peculiarity can be found onthe most honest faces, but it undoubtedly givesa sinister look to the face, and is often an indica-tion of a sulky temper.

(6) Weak eyebrows invariably signify a lackof power and ardor. They indicate debility andsometimes weakness of constitution.

(7) Strong, angular eyebrows are signs of fire,decision and force.

(8) Eyebrows situated very high and divid-ing the forehead into equal parts are indica-tive of levity, want of concentrative power.The subject will be unable to reason logically.

(9) Thin eyebrows indicate apathy and flab-biness.

32. Expression.The two greatest mediums of expression in the

face are the mouth and the eye. The mouth

Physiognomy 67

gives evidence of the control the mind has overthe passions and is an absolutely reliable witness.The eye being the instrument of the intellect, ex-presses the thought of the brain by its dictation.It is therefore more or less under the commandof the will power. When not under the influenceof any strong emotion, the brain can for a shortperiod reflect in the eye at desire, its thoughts,

artificial or affected. Any serious emotion,however, affecting the mind immediately relaxesits control of the muscles of the eye, and the truecharacter is revealed to the observer.

Physiognomists differ as to whether the ex-pression is seen in the eyeballs or in the features

of the face, the eyelids and the parts aroundthem. Dr. Warner says, " I think there is moreexpression in the action of the muscles of theeyelids, than in the changing conditions of theeyeball itself. If a man wear a mask showingthe eyes only, and hiding the other features ofthe face, there is so little expression seen that itis impossible to recognize the individual thereby,as may be seen at a masked ball." Nature hasso beautifully proportioned the human face, thatevery feature is dependent on the other. Eventhe eye, the most expressive of all, requires its

68 Physiognomy

proper setting to give it its true value. We fre-quently hear of the fire of genius being seen in theeye. Chatterton is said by Calcott to have hadthe eves of a hawk. " You could see throug^h theininto his impassioned soul." The fire of Chat-ham's steel-gray eyes is often spoken of, and thegreat naturalist, Audubon, possessed eyes ever onthe alert, flashing with the intensity of a search-light.

33. Effect of Emotions on the Eye.

We give here a short list of the various waysin which the different emotions are expressed bythe eye.

Hate.This passion causes the forehead towrinkle ; the eyebrow is lowered, the eye flashes.The wings of the nose are raised.

Love.In the opposite expression of love, theeyes are nearly closed, the eyebrows lowered.

Devotion.The eyebrows and pupils are di-rectly raised. The mouth slightly open.PW^?^.The eyebrows are much elevated.

The eyelids lowered.Pleasure.In pleasure, the eye becomes bril-

liant and sparkling, the eyelids fully raised. The

Physiognomy 69

eye appears larger, owing doubtless to the moreabundant flow of the lachrymal secretion.Pain.This emotion is expressed by the

closing of the eyes, the eyelids being tightlycontracted.

Thought.Fixation of the pupil, immobiliza-tion of all the muscles of the face. Sometimeselevation of one eyebrow only. The musclewhich wrinkles the eyelid in deep thought wascalled by Darwin the muscle of reflection.

34. The Crooked Eye.In all nations there has always been a strong

prejudice against a cast or squint in the eye.Amongst the uneducated classes, especially inthose of the Latin race, they firmly believe thatpersons with crooked eyes possess the power ofinflicting injury by merely looking on those theywish to harm. This belief is expressed in anumber of their proverbs. " A squinting man isnever free from malice." " A man who looksnot straight does not act so." Constantly in thestreets of Southern Europe you see people cross-ing their thumbs to undo the spell and counter-act the ill-luck of a cross-eyed stranger. Thewriter was speaking of this superstition to a

70 Physiognomy

former prosecuting attorney of New York, andhe replied, " Well, there is something in that. Ihave practiced at the bar for thirty years, and Ido not hesitate to assert that out of 1,000 crimi-nals I have only known three who have not hadsome defect of the eye." That a cast in the eyeis not invariably a sign of moral depravity byitself, is proved by the fact that some noted menof talent and probity have possessed this peculi-arity. We may cite St. Paul, who is said to havehad a decided cast in the eye,Moliere, the greatFrench writer of plays, and two great preachers,Edward Irving and Whitefield who were both af-flicted with a terrible squint, which, however,proved no bar to their success as popular orators.

35. The Color of the Iris.The color of the iris, and its relation to char-

acter and disposition has been a subject of muchdiscussion. It is certain that a distinct connec-

tion can be established between the color of theiris, hair and skin, and the temperament of theindividual. In Albinos we find that with hairand skin of a perfect whiteness, there is a totalabsence of coloring matter in the iris, with theexception of a slightly reddish appearance im-

Physiognomy 7

1

parted to it by the blood-vessels. In the negrowe lind the exact opposite, the hair, skin, iris andchoroid all being of one tone, and this peculiarityis sometimes found amongst the very dark com-plexions of a white race.

In the northern races, where the skin and hairare fair, blue eyes are common, while in thesouth, where the hair and skin are dark, browneyes predominate.

Certain mental characteristics accompany thesedifferent colors, of which we give the followinglist

:

36. How TO Eead Character by Color.

Gray Brilliancy, daring, enterprise,strength, endurance, egotism,avariciousness, ambition, coldness,constancy.

Light hhte Taciturnity, curiosity, submission,limpness, romance, obstinacy, deli-cacy, kindness, gentleness, poetry.

Dark bhie Restlessness, humor, wit, mischief,gaiety, sentiment, impatience, con-ceit, carelessness.

Hazel Vivacity, wit, excitability, vitality,quick temper, hopefulness.

72 Physiognomy

Light brown Love of ease, intolerance, obstinacy,fear of pain, hypochrondria, sulkydisposition, warm heart, con-scientiousness.

Dark hrown Excitability, hastiness, irascibiliiy,strength, anxiety, studiousness,imagination, vehemence, passion,penetration, cunning.

Green Fire, ardor, courage, wit, intensity,intuitioUo

Yellow Deceit, sensuality, magnetism.

37. The Eyes of Criminals.Some years ago a Russian scientist made a

study of criminal characteristics, and amongstother noticeable traits, he found that the colorof the iris indicated the degree of criminal tend-ency. He classed them in four groups.

1st. Daring swindlers in finance, forgery, andthefts of all kinds requiring enterprise, coolnessand judgment, the steel gray eyes.

2d. Homicidal murderers, the hi'own or hlaclieyes.

3d. Minor criminals had the hazel hrownand 4:th, vagabonds had azure blue.

Physiognomy 7338. The Eyes of Celebrated People.Bismarck had eyes of steely gray, deep sunken

almost hidden, under bushy eyebrows.

Robert Louis Stevenson had brown eyes, hu-morous and very expressive.

Yon Moltke, the soldier, had bright blue eyes.Darwin's gray eyes looked out from under

heavy overhanging brows.

Dante Gabriel Rossetti had gray blue eyes.

Charles Lamb had very glittering eyes, of twocolors (evidence of some physical weakness) grayand hazel, with red spots on the iris.

Julius Caesar had black eyes of great bril-liancy.

In the younger Pitt, the sole evidence of geniuslay in his brown eyes, which glowed like livecoals.

Cow per, physically timid, had weak blue eyesdevoid of animation.

Mahomet had coal black eyes.Leigh Hunt tells us Wordsworth's eyes were

brown and small, but had an inspired super-natural appearance.

Dr. Johnson's ill health so effected his eyes,

74 Physiognomy

so that they were dull and lifelessof a water^^blue.

Isaac IS'evvton had blue eyes, small, brightand piercing.

James A. Garfield had brown eyes, large andintelligent.

William McKinley had mild light brown eyes.

Lincoln's eyes were deeply set, gray-brown inhue, and very melancholy in repose.

Kruger had small cunning gray eyes with atrick of suddenly opening and fixing themselveson an object.

Harvey, the discoverer of the circulation of the

blood, had small black eyes, full of spirit.

Goethe had beautiful dark brown eyes.Voltaire had deep set eyes of marvelous bril-

liancy.

Pope Leo XIII had piercing black eyes, ren-dered more striking by his white emaciated face.

Beethoven had small brown eyes, very mobile.Milton had gray blue eyes, clear and round.

Michael Angelo had hazel eyes.

Raphael had brown eyes*

Physiognomy 75Shakespeare had light hazel eyes, tranquil and

open.

Shelley had beautiful blue eyes, never still.

Carlyle's eyes were described as '' the very

handsomest ever seen in a man's head,darkblue."

John Ruskin had gentle, rather washed outblue eyes.

Lord Roberts, keen blue eyes.

Suetonius says of Augustus that " the bright-ness of his piercing eyes was such as to compelspectators to look away as when they turn theireyes from the sun."

Wellington, blue gleaming eyes.Dante had, according to Boccacio, large, black

eyes.

Byron had gray eyes fringed with long blacklashes.

General Rules for Judging the Eye.39. Calm, serene, almond-shaped eyes, gener-

ally half closed, are the eyes of the lovers of ease,

luxury and frequently, if accompanied by a high,narrow forehead, those of a fanatic.

76 Physiognomy

40. Wide open eyes, transparent, moving rap-idly under sharply delineated lids, denote irrita-bility, pride, passion, good judgment, love ofwomen, invention and loyalty.

41. A large, clear, blue eye frequently indi-cates weakness of some organ, and is a sign ofextreme sensibility, jealousy, curiosity, power ofobservation, wit and patience.

42. Small, black, sparkling eyes under strongblack eyebrows denote penetration, shrewdness,calculation, cunning, dissimulation. If accom-

panied by a well developed forehead and humor-ous mouth, coolness of judgment, logic, taste, ac-curacy and love of money.

43. Deep sunken, small, dull round blue eyesunder a high bony forehead, denote suspicion,cold heart, small capacity. The subject lacksbrain power.

44. Staring, prominent eyes, slow moving,generally indicate obstinacy, dulness, pretension

and coldness.

45. Small, deep sunken eyes show boldness inopposition, endurance, love of intrigue, activity,and a character not easily discouraged.

Physiognomy 7746. Eyes constantly moving denote excitabil-

it}^ care, eagerness, ambition.

47. Winking eyes, foresight, quickness inthought, planning, scheming.

48. Downcast lids, dissimulation, pride andmodesty.

49. Bright eyes. Paracelsus declares thatbright eyes, slow of motion, denote sociability,daring, nervousness.

50. Long, sharp eyes indicate a sanguine tem-perament, great talent, genius, invention andpolicy.

51. When the eyelid forms a horizontal lineover the pupil, it is a sign of very versatile talent.

52. If the upper or lower eyelid appears toproject and is well defined, shading the pupilwell, it is an indication of spirit, refinement andtaste,a grateful nature.

53. When the eye shows the whole pupil, andthe white below and above, the subject is in anunnatural nervous state. This symptom is nevermet with in a mature sound mind.

CHAPTER VII

THE MOUTH AND LIPS

Their Dimeusious, Flexion, Coloriug aud Other Peculiaritiesas Denoting Character.

This chapter will be found divided as follows

:

I. Description of the mouth and lips ; II. Theirdimensions of height, breadth and thickness ; III.The flexion of the lips ; lY. Their coloring ; Y.The controlling muscles of the mouth, and YI.Some peculiarities of the mouth in their relationto character.

54. Description of Mouth and Lips.The mouth is the great indicator of the animal

passions. The eye tells of the condition of thebrain ; the nose of the will power and force ; butthe mouth is the index to the passions and theirintensity. It shows how far the individual isgoverned by the senses, and the degree of hisself-control.

The dimensions of the lips vary according torace. Amongst white people we often find the

78

Physiognomy 79red line of the lips so thin as to be barely percep-tible, while amongst colored races the lips some-times protrude so far as to touch the nose andchin. What is termed the mouth includes bothlips from the base of the nose to the transversecavity in the centre of the chin. There are fourpoints to study in the mouth : 1, Dimensions ; 2,color ; 3, flexion ; 4, muscles.

55. The Height.We judge of the height of the upper lip by the

distance between the base of the nose and thecommencement of the soft, transparent tegumentof the cuticle of the mucous membrane (the col-ored section of the lip, discussed later under thehead of Thickness). The height of the upper lipis an indication of the capacity for feeling, Along upper lip is never seen amongst races domi-nated by the senses. It is a characteristic ofhardness, austerity, tenacity, severity and lack ofacute sensibility. A short upper lip is considereda sign of breeding when the colored portion isnot too large. It denotes lack of self-relianceand energy, and of logic and reasoning powers.The height of the under lip should be the exact

half of the entire jaw. As it forms part of the

8o Physiognomy

chin it will be dealt with under that heading, thecolored portion only being analyzed here.

66. The Length or Width.The upper lip is found to be usually larger

than the under one, and varies with each subject.Large ears and great width of mouth arcusuallyassociated, and we rarely see a short mouth andlarge nose. When we do, the nose is generallyaquiline, and the character fretful, uncertain andunamiable. A good width of mouth indicatesgeniality, toleration, sympathy; if very wide wantof restraint.

A narrow short mouth shows coldness, little-ness, pettiness, weakness. A short mouthwith full lips denotes love of luxur}^impulsiveness, fondness for the pleasuresof the table, pride, in sincerity (Fig. 22).

Fig. 22. A wide mouth with well shaped lips,firmly closed, indicates self-control, and strengthof character, generosity, sincerity and trust-worthiness.

57. Thickness.

The red-colored fleshy portion of the lips is the

Physiognomy 8i

most sensitive part of the face, and possesses anexquisite sense of touch.

According to its size we divide it into the fourclasses,Thin, medium, thick and voluminous.

(1) Thin.Extreme fineness and narrownessof lips denote moderation, extreme coldness,spite, industry, order, endurance and self-denial.

(2) Medium.Fairly full lips show gener-osity, ardor, affection, enthusiasm, quick temperand activity.

(3) Thick.Thick lips denote love of thematerial, sensuality, amiability, laziness, geniality

and laxity of principle.

(4) Voluminous.These are the lips of thosewho are entirely dominated by the senses. Whenthe head is fine and the jaws strong, great inten-sity in all the emctcions is indicated.

h^. Flexion of Lips.In some mouths, the curve made by the colored

portion is very acute, in others it is barely per-ceptible. A well shaped mouth has the centreof the lip of moderate height, gradually taperingto the cleft. The "Cupid's Bow" (Fig. 23)mouth denotes a person without much character,

82 Physiognomy

egotistical, and lacking in generosity. It is amouth to admire but not to associate witli. A

very short full curve denotes volup-

-^2C^ tuousness and weakness. A loose fall-FiG. 23. ing under lip is a deplorable sign.

It shows entire lack of control,and the complete ascendancy ofthe passions (Fig. 24). A finelymodeled mouth with a graceful,but not too sharp a curve, is in-

variably accompanied b}^ a well fig. 24.shaped head and good features.

59. Color of the Lips.The numerous capillary vessels in the mucous

membrane of the lips, combined with the positionof the muscle '' orbicularis," gives them their richcolor. The brilliancy of tint varies with the con-dition of health and the circulation of theblood.

A bright red indicates good health and vitality,ardor, vigor and keenness of susceptibility.A bright vivid scarlet is an indication of sensu-

ality.

Very pale ^^jj>6lack of force, malnutrition andmelancholia.

Physiognomy 83

Bhie or motet signifies disease with white races.It is seen amongst Japanese, Malays, etc.Black or hrown is seen with races of that color.

60. Muscles of the Mouth.It is man alone who has the power of express-

ing the emotions by his nostrils and mouth, bythe nostrils slightly, by the mouth in a verygreat degree.

The fulness of the lips is caused in a greatmeasure by that circular muscle, the fibres ofwhich surround the orifice of the mouth. Themouth has two chief functions to perform, eat-ing and speaking. Any one who has watched ahungry man taking his dinner, and an orator de-livering his discourse will observe the differencein the play of the muscles. In eating, the wholemachinery from the temple and angle of the jawto the chin is in motion, while in speaking thelips are called into play, especially the muscles ofthe lower lip. It is the play of the variety ofumscles round the mouth which are the cause ofits continual change of expression. The princi-pal muscles aff'ecting the expression of the mouth(Fig. 25) are the '^ Zyyo/aatic,'''' reaching from theear to the angle of the mouth (it retracts the lips

84 Physiognomy

in smiling); the ''''Levator Labii ;pro]prhis^^ whichlifts the upper lip in expressing disgust and con-

FiG. 2:).

tempt ; and the little muscle which influjences thelip at the cleft, causing it to inclme downwardin sadness and doubt.

61. Peculiarities of the Mouth AppliedTO Character.

The peculiarities of the mouth most easilynoted and read are given below, with a brief in-dication of what they show as to the character ofthe subject. It should alwa,ys be borne in mind,however, as regards any one feature of the face,that its indications must be compared with thoseof all the other features. The weakness of themouth may often be modified by the strength ofthe nose and brow or vice-versa.

62. Large lips, falling openimbecility, weak-ness of mind.

63. Coarse, irregular lips (Fig. 26) of greatwidthbrutality, unrestrained passion.

Physiognomy 85

64. "When the under lip projects very muchover the upperintense obstinacy and tenacityare shown ; ill-temper.

65. The absence of all eversion to the lips

penuriousness, formality and absence of taste.66. Delicate, well-defined lips, not too full,

and of good color, denote goodness and refine-ment.

Fia. 26.

67. When the upper lip forms a decided pointin the centreoriginality and whimsicality areindicated.

68. If the under lip projects slightl^T- with anotherwise well-shaped and firmly-closed mouth

intense anxiety to achieve is shown, and greatpower of resistance.

69. Much character is shown by the way themouth is closed. If pressed up tightly, censori-ousness and bad temper are denoted (Fig. 27).

70. If firmly and naturally closed, self-controland mental poise are shown (Fig. 28).

86 Physiognomy

71. A want of concentration of ideas, gar-rulity, narrowness and lack of power are indi-cated by a mouth generally held slightly open(Fig. 29).

72. There is much significance in the smallangles at the extreme end of the lips. A deep

Fig. 28. Fig. 29.

cleft and angle indicate severity, deep thought.If the angle slants inward, humor is expressed.

73. The vertical furrow in the centre of theupper lip expresses humor, when very deeplymarked

74. A short mouth invariably denotes a person*}f small ideas and dogmatic in his views of life.

CHAPTER VIII

THE EAR

Its Size, Contour, Folds, Helix, Lobe and Color, and theirMeanings.

In dealing with the ear we have to note its pe-culiarities, as follows: I. Size; II. Contour;III. Folds, helix, or anti-helix ; IV. Shape of thelobule or lobe ; V. The angle of the an ti-tragus,near the concha ; VI. The angle the ear formswith the eye and the jaw-bone, and VII. The colorof the ear.

75. General Remarks on the Ear.Though the ears play little or no part in the

facial expression, they are quite as indicative ofcharacter as the eyes, nose and mouth. Thecharacteristic peculiarities of the ear correspondwith the individuality and disposition of theperson and require very careful examination. Itis a curious fact that while these features presentthe greatest variety in form, size and })osition,hardly one person in ten will ever remark themor observe their shape.

87

88 Physiognomy

Even Lavater, the king of physiognomists, con-fessed that though aware of the importance ofthe ears in analyzing character, he had given butlittle time to their study.A well-shaped and normally sized ear is a pass-

port for a fair intelligence and disposition, but letus beware of the long, pointed, narrow ear. Itis his Satanic Majesty's own mark ; and we maybe sure he is not far off. The flatter the ear isset to the side of the head, the less acute the

hearing. Musicians have ears well set out androunded, and orators have ears which stand wellaway from the head. M. Bertillon, in his methodof identification, considers the ear is the feature

by which it is easiest to establish a man orwoman's identit3^ Only recently a difference inthe shape of an ear was the means of acquitting

an innocent man, w4iose other features were al-most identical with those of the real criminal.Amongst detectives it is recognized that the earand n'ose are the two features most difficult todisguise.

76. Size of the Ear.There are many grades in the size of the ear,

from the small, well-formed, finely-cut feature,to the huge, coarse, shapeless ear of the lower

Physiognomy 89

races. We find the largest ears amongst thenegroes, and all uncivilized and savage people,accompanied by the prominent jaws and recedingchin of the lowest type of man. The smallestears are found in the Latin races ; but they arefrequently uneven in contour, and have heavylobes. Intellect and morality cannot however bejudged by the size of the ear alone. There is anenormous difference in the large ear of a negro

and that of a cultured white man. The convolu-tions and angles are entirely different.

In European races, very large ears with per-sons of large frame indicate commercial capac-ity, as well as musical talent. Men of greatfinancial ability usually have ears of large size

;

as for example Jay Gould, W. H. Yanderbilt andRussell Sage. A certain degree of obstinacy is acharacteristic of a large ear. An unusuallysmall ear indicates refinement and extreme sensi-tiveness in a woman. In a man it also indicatesrefinement and sensitiveness, but also lack offorce. We never find a small ear associated witha strong and powerful face.

77. Contour.As the curve is the normal factor of form for

go Physiognomy

the ear all variations from this form speak ofdefects in the aural organization and tempera-ment. As the angular pointed ear shows a lackof quick hearing, so it also indicates a weaknessin the moral nature. A well rounded ear is thenatural accompaniment of a complete andharmonious temperament.

78. The Folds.There is a marked difference in the relative

proportion to one another of the folds. In someears, the helix (the upper part of the fold) is athick, heavy, fleshy fold, half an inch in width.

In others the helix is so thin that it barely curls

over (Fig. 30). These two varieties represent twodistinct traits of character. When the helix islarge and heavy, it denotes invariably a ma-terialistic nature (Fig. 31). The thin helix in-dicates caution, acquisitiveness, love of money,

etc. If the helix is fleshy at its commencement,very pointed at top, and then narrowing as itdescends (Fig. 32) it indicates great shrewdnessin finance. If the reader will examine the earsof well known and successful men, he will findthis a marked peculiarity.The helix should always be well formed and

Physiognomy 91

even in contour. When the line of the fold ismuch broken and uneven, the individual isnervous, excitable and quarrelsome.

Fig. 30.Ear showiDgver}- thin fold(helix). Ac-quisitiveness,love of money.

Fig. 31. Materialisticear, thick helix and largelobe.

Fig. 32. Pointedand thin helix,showing financialshrewdness andpower.

79. The Shape of the Lobule or Lobe.If the lobe is set flatly into the cheek, there is

little energy or vitality in the subject. It shouldbe raised slightly, and form a graceful curvejoining the helix. The lobe varies a little inshape ; it \^ pointed,, oval,, and round. When thelobe is pointed the top of the ear is apt to be so,and it merely emphasizes the characteristic ofshrewdness and cunning. The average ear hasthe lobe of medium size, oval or round, and itstrengthens the indications given by the helix.

92 Physiognomy

The deep hroad lobe is a sign of commercialism.A large long lobe indi-cates perseverance and self-reliance. When the lobeinstead of forming a dis-tinct curve, joins with thecheek in a continuous line(Fig. 33) a poor judgmentis indicated, and a lack ofquick perception.

Fig. 33, Lobe uot de-tached from the cheek,lack of judgment and ofquick perception.

80. The Angle of the Anti-tragus NearTHE Concha.

This angle is one of the most important forpurposes of identification, as it varies

greatly in each individual. In read-

ing character it may be said thestraighter the line of the anti-

tragus, the stronger the tendencyto deceit and fraud. This pecul-iarity, though small, is very signifi-cant. Photographs of criminals seen tragus a to B,in profile have this trait almost inva- fraud cunning^riably (Fig. 34).

FiC4. 34. Shovv-i n g straightlineof theanti-

Physiognomy 9381. The Angle of the Ear.

The position of the ear in the head is significantWe see ears set low in the head, and ears seihigh. Ears which stand out from the headcommonly called "Midas ears." All these in-dications tell us something. In studying a face,the right position for the ear is found by draw-ing an equilateral triangle (Fig. 35) between theextreme tip of the lobe (Point C), the innerangle of the eye (Point A) and the point of thejaw-bone (Point B). As we rarely find the earforming this exact angle, we merely use theangle as a guide to the ear's proper position.The further down the ear descends from this

given point, the greater the indifference of theindividual to the feelings of others. There willbe a strain of hardness in the nature. If theear is situated high in the head, we shall find theman or woman to be very secretive and cautiousin the extreme. Ears placed very far back inthe head indicate weakness and lack of self-reliance. When the ears are large and stand outfrom the head, the subject will have an easygoing disposition, and will not be easily worriedby passing annoyances. An ear sloping back-ward denotes ingenuity.

94 Physiognomy

Fig. 35, Equilateial triangle ol the eye, ear and jaw.

Physiognomy 9582. Color of the Ear.

The aural capacity is a good deal indicated bycolor. A very red color shows quickness of hear-ing, while a very white and thin ear indicatesweakness of the organ. When the ear is narrow,set closely to the side of the head, white incolor, almost bloodless, great timidity is shown,and a nervous temperament. A fine texture ofskin and pink color denote vitality and energy.

CHAPTER IX

THE CHIN

Its Indications of Size, Shape and Fulness

The curve of the jaw-bone seen in profile, andits shape, square, pointed or oval, viewed fullface, are the two chief characteristics to be notedin analyzing the chin. The possession or lack ofthe qualities of energy, tenacity, force, love of

self, gluttony, sensuality, obstinacy, are all indi-cated by this feature.

83. Size and Position.The more the chin advances the more there is

of positiveness in the character. Negativeness isshown by a retreating chin. The nose, chin andforehead should be in conformity for perfect pro-portion, but in persons of strong and very de-termined natures, we frequently find the chin orjaw so large as to disturb this balance. Whenonly slightly out of proportion it indicates by itssize immense tenacity, a grip and will of iron do-

96.

Physiognomy 97termination ; if very square and massive, a char-acter that will surmount all obstacles, withoutmuch regard for the feelings of others.

If we see, however, an abnormally large andsquare chin with a small nose and receding fore-head, we may be certain that the owner has littlesense and immense obstinacy.He will accomplish nothing, and be jealous of

the success of others. People with large nosesand receding chins are usually of an amiable andyielding disposition. They often possess muchtalent and originality, but have no " backbone."Hence they depend on others and their aid forany s