Although the physiological, intellectual, and moral are united in man, yet it is plain that each of these has its peculiar station where it more especially unfolds itself and acts.

It is, beyond contradiction, evident that, though physiological or animal life displays itself through all the body, and especially through all the animal parts, yet it acts more conspicuously in the arm, from the shoulder to the ends of the fingers.

It is not less evident that intellectual life, or the powers of the understanding and the mind, make themselves most apparent in the circ.u.mference and form of the solid parts of the head, especially the forehead; though they will discover themselves to the attentive and accurate eye in every part and point of the human body, by the congeniality and harmony of the various parts. Is there any occasion to prove that the power of thinking resides not in the foot, nor in the hand, nor in the back, but in the head and its internal parts?

The moral life of man particularly reveals itself in the lines, marks, and transitions of the countenance. His moral powers and desires, his irritability, sympathy, and antipathy, his facility of attracting or repelling the objects that surround him--these are all summed up in, and painted upon, his countenance when at rest.

Not only do mental and moral traits evince themselves in the physiognomy, but also health and sickness; and I believe that by repeatedly examining the firm parts and outlines of the bodies and countenances of the sick, disease might be diagnosed, and even that liability to disease might be predicted in particular cases.

The same vital powers that make the heart beat and the fingers move, roof the skull and arch the finger-nails. From the head to the back, from the shoulder to the arm, from the arm to the hand, from the hand to the finger, each depends on the other, and all on a determinate effect of a determinate power. Through all nature each determinate power is productive of only such and such determinate effects. The finger of one body is not adapted to the hand of another body. The blood in the extremity of the finger has the character of the blood in the heart. The same congeniality is found in the nerves and in the bones. One spirit lives in all. Each member of the body, too, is in proportion to the whole of which it is a part. As from the length of the smallest member, the smallest joint of the finger, the proportion of the whole, the length and breadth of the body may be found; so also may the form of the whole be found from the form of each single part. When the head is long, all is long; when the head is round, all is round; when the head is square, all is square.

One form, one mind, one root appertain to all. Each organised body is so much a whole that, without discord, destruction, or deformity, nothing can be added or subtracted. Those, therefore, who maintain that conclusion cannot be drawn from a part to the whole labour under error, failing to comprehend the harmony of nature.

_II.--Physiognomy and the Features_

The Forehead. The form, height, arching, proportion, obliquity, and position of the skull, or bone of the forehead, show the propensity of thought, power of thought, and sensibility of man. The position, colour, wrinkles, tension of the skin of the forehead, show the pa.s.sions and present state of the mind. The bones indicate the power, the skin the application of power.

I consider the outline and position of the forehead to be the most important feature in physiognomy. We may divide foreheads into three princ.i.p.al cla.s.ses--the retreating, the perpendicular, and the projecting, and each of these cla.s.ses has a mult.i.tude of variations.

A few facts with respect to foreheads may now be given.

The higher the forehead, the more comprehension and the less activity.

The more compressed, short, and firm the forehead, the more compression and firmness, and the less volatility in the man.

The more curved and cornerless the outline, the more tender and flexible the character; and the more rectilinear, the more pertinacious and severe the character.

Perfect perpendicularity implies lack of understanding, but gently arched at top, capacity for cold, tranquil, profound thought.

A projecting forehead indicates imbecility, immaturity, weakness, stupidity.

A retreating forehead, in general, denotes superior imagination, wit, acuteness.

A forehead round and prominent above, straight below, and, on the whole, perpendicular, shows much understanding, life, sensibility, ardour.

An oblique, rectilinear forehead is ardent and vigorous.

Arched foreheads appear properly to be feminine.

A forehead neither too perpendicular nor too retreating, but a happy mean, indicates the post-perfect character of wisdom.

I might also state it as an axiom that straight lines considered as such, and curves considered as such, are related as power and weakness, obstinacy and flexibility, understanding and sensation.

I have seen no man with sharp, projecting eyebones who was not inclined to vigorous thinking and wise planning.

Yet, even lacking sharpness, a head may be excellent if the forehead sink like a perpendicular wall upon horizontal eyebrows, and be greatly rounded towards the temples.

Perpendicular foreheads, projecting so as not to rest immediately upon the nose, and small, wrinkled, short, and shining, indicate little imagination, little understanding, little sensation.

Foreheads with many angular, knotty protuberances denote perseverance and much vigorous, firm, harsh, oppressive, ardent activity.

It is a sure sign of a clear, sound understanding and a good temperament when the profile of the forehead has two proportionate arches, the lower of which projects.

Eyebones with well-marked, firm arches I never saw but in n.o.ble and great men.

Square foreheads with extensive temples and firm eyebones show circ.u.mspection and steadiness of character.

Perpendicular wrinkles, if natural, denote application and power.

Horizontal wrinkles and those broken in the middle or at the extremities generally denote negligence or want of power.

Perpendicular, deep indentings in the forehead between the eyebrows, I never met save in men of sound understanding and free and n.o.ble minds, unless there were some positively contradictory feature.

A blue frontal vein, in the form of a Y, when in an open, smooth, well-arched forehead, I have only found in men of extraordinary talents and of ardent and generous character.

The following are the traits of a perfectly beautiful, intelligent, and n.o.ble forehead.

In length it must equal the nose, or the under part of the face. In breadth it must be either oval at the top-like the foreheads of most of the great men of England--or nearly square. It must be free from unevenness and wrinkles, yet be able to wrinkle when deep in thought, afflicted by pain, or moved by indignation. It must retreat above and project beneath. The eyebones must be simple, horizontal, and, if seen from above, must present a simple curve. There should be a small cavity in the centre, from above to below, and traversing the forehead so as to separate it into four divisions perceptible in a clear descending light.

The skin must be more clear on the forehead than in other parts of the countenance.

Foreheads short, wrinkled, and knotty, are incapable of durable friendship.

Be not discouraged though a friend, an enemy, a child, or a brother transgress, for so long as he have a good, well-proportioned, open forehead there is still hope of improvement.

THE EYES AND EYEBROWS. Blue eyes are generally more indicative of weakness and effeminacy than brown or black. Certainly there are many powerful men with blue eyes, but I find more strength, manhood, thought with brown.

Choleric men have eyes of every colour, but rather brown or greenish than blue. A propensity to green is an almost decisive token of ardour, fire, and courage.

Wide open eyes, with the white visible, I have often observed both in the timid and phlegmatic, and in the courageous and rash.

Meeting eyebrows were supposed to be the mark of craft, but I do not believe them to have this significance. Angular, strong, interrupted eyebrows denote fire and productive activity. The nearer the eyebrows to the eyes, the more earnest, deep, and firm the character. Eyebrows remote from each other denote warm, open, quick sensations. White eyebrows signify weakness; and dark brown, firmness. The motion of the eyebrows contains numerous expressions, especially of ign.o.ble pa.s.sions.

THE NOSE. I have generally considered the nose the foundation or abutment of the brain, for upon this the whole power of the arch of the forehead rests. A beautiful nose will never be found accompanying an ugly countenance. An ugly person may have fine eyes, but not a handsome nose.

I have never seen a nose with a broad back, whether arched or rectilinear, that did not belong to an extraordinary man. Such a nose was possessed by Swift, Caesar Borgia, t.i.tian, etc. Small nostrils are usually an indubitable sign of unenterprising timidity. The open, breathing nostril is as certain a token of sensibility.

THE MOUTH AND LIPS. The contents of the mind are communicated to the mouth. How full of character is the mouth! As are the lips, so is the character. Firm lips, firm character; weak lips, weak character.

Well-defined, large, and proportionate lips, the middle line of which is equally serpentine on both sides, and easy to be drawn, are never seen in a bad, mean, common, false, vicious countenance. A lipless mouth, resembling a single line, denotes coldness, industry, a love of order, precision, house-wifery, and, if it be drawn upwards at the two ends, affectation, pretension, vanity, malice. Very fleshy lips have always to contend with sensuality and indolence. Calm lips, well closed, without constraint, and well delineated, certainly betoken consideration, discretion, and firmness. Openness of mouth speaks complaint, and closeness, endurance.

THE CHIN. From numerous experiments, I am convinced that the projecting chin ever denotes something positive, and the retreating something negative. The presence or absence of strength in man is often signified by the chin.

I have never seen sharp indentings in the middle of the chin save in men of cool understanding, unless when something evidently contradictory appeared in the countenance. The soft, fat, double chin generally points out the epicure; and the angular chin is seldom found save in discreet, well-disposed, firm men. Flatness of chin speaks the cold and dry; smallness, fear; and roundness, with a dimple, benevolence.

SKULLS. HOW much may the anatomist see in the mere skull of man! How much more the physiognomist! And how much more still the anatomist who is a physiognomist! If shown the bald head of Caesar, as painted by Rubens or t.i.tian or Michael Angelo, what man would fail to notice the rocky capacity which characterises it, and to realise that more ardour and energy must be expected than from a smooth, round, flat head? How characteristic is the skull of Charles XII.! How different from the skull of his biographer Voltaire! Compare the skull of Judas with the skull of Christ, after Holbein, and I doubt whether anyone would fail to guess which is the skull of the wicked betrayer and which the skull of the innocent betrayed. And who is unacquainted with the statement in Herodotus that it was possible on the field of battle to distinguish the skulls of the effeminate Medes from the skulls of the manly Persians?

Each nation, indeed, has its own characteristic skull.

_III.--Nation, s.e.x, and Family_