powers which enables one to receive and reproduce verbal language are just those which are required to imitate musical tones. Speech is musical to a degree; not as rhythmical as music, but certainly civilized language in its intonations, inflections, pauses, pitch, force, and intensity is a species of music, and those with good musical ears acquire foreign languages with great readiness and use them with facility. See, for example, the ears of all good linguists and public speakers.

THE REFINED EAR.

This type of ear may be large and well-shaped or small and well-shaped. The texture is the most important physiognomical factor in the construction of this ear. If the skin be fine and clear and the ear thin, the color white, pink, or red, and exhibiting a number of flutings or convolutions, the character will show delicacy of feeling and refinement of manner.

THE UNREFINED EAR.

The form of this ear may be large and thick or small and thick. The large ear of this class is coarse in texture, of a thick, muddy complexion, broad and flapping in appearance, and destitute of those delicate convolutions which distinguish the ear of refinement. The small ear of this class is conspicuous by the thickness of the shell and the lack of fine elaborate structure; the rim is thick and uneven, and the shell destitute of clear and delicate coloring and vein tracery.

THE ABNORMAL EAR.

There are many malformations of the external ear; also many departures from a normal standard, such as pointed, angular, and chaotic or irregular shapes. It is logical to infer that the internal structure bears some relation to the outer, for I hold that all external forms are indicative of internal structure, and reveal power or weakness. The ear must be understood as bearing relation to the vocal organs and oral formation. I base this idea upon the law of homogeneity.

The ears of congenital idiots are often as malformed as their other features; so also the features of congenital criminals often present departures from the law of perfect curvation, and hence are of great physiognomic value, and are corroborative signs of character.

According to statistics there are more congenital defects of the aural apparatus in the male than in the female.

A larger percentage of inherited defects of the organs of sight and speech in the masculine sex is noted than in the female

sex in medical works and reports of institutions for the defective classes.

There is probably less change in the form of the ears than in that of any facial feature; hence, the ear as a means of personal identification would be far more decisive than the face, which undergoes many changes within a few years even. The Chinese use, as a means of identification, an imprint of the thumb. The ear, being less liable to injury, is better adapted for this purpose than any other single feature or member.

THE HUMAN FACE.

THE LINES OF THE FACE.

Says Lavater: "There is nothing more indicative of character than lines, unless it be the absence of them." The lines of the face

FIG. 311.-NORMAL DIRECTION OF PRIMITIVE
LINE. (GENERAL ANDERSON.)

are distinct from the wrinkles in the countenance, from the fact that they are present at birth, or soon after, while wrinkles do not make their appearance until after thought and emotion have left their impress upon the countenance. One of the principal lines, and one which is exhibited in every face, is that which leads from the nostrils downward to the vicinity of the corners of the mouth. This line is highly indicative of charand vertical depth many

acter, and reveals by its length, direction, important characteristics. As mountains by their height create valleys, so the height and fullness of the upper cheek (where are located the signs of Friendship) make this line conspicuous by its depth, for, the fuller this part of the cheek, the more marked will this line appear.

Its depth and width, then, denote Friendship-a secondary or accessory sign; if exceedingly deep it is caused by fat cheeks, hence denotes a great eater; if it assume a certain direction it will add to the beauty of the face by interblending with the wrinkles

and dimples, which are the signs of Mirthfulness, and which are situated on the cheek at the corners of the mouth. Lavater lays great stress upon the direction of this line, and I am prepared from experience to indorse fully all that he says of this peculiarity of the countenance. Of this he observes:

The trait or lineament extending from the sides of the nostrils toward the end of the nose is one of the most significant; on its obliquity, its length, its proximity to or distance from the mouth, depends the evidence of the whole character.

If it is curved without gradation or undulation it is a certain sign of stupidity; it is the same when its extremity joins, without an interval, to the corners of the lips; the same when it is a good distance from the corners of the lips.*

Each of these appearances denotes diversity of character-all of them greatly defective; when the curve is without undulations there is a certain degree of dullness and want of apprehension; when the line joins the corners of the mouth without an interval, a great fund of foolish mirth

is present; when the line ends at a great distance from the corners of the mouth, absence of reasoning power and common sense are indicated; when normal this line terminates just outwardly from the signs of Mirthfulness. This is a primitive line, and is situated in the vegetative division of the face. It appears in childhood, and by its vertical depth marks the

strength of the faculty of Friendship, the sign for which is situated in the upper cheek; it also indicates by its depth the strength of the intestinal system, as well as the function of digestion.

The next most prominent line of the face is the little line. running perpendicularly down the centre of the upper lip, from the septum of the nose to the sign for Amativeness in the centre of the upper lip. This line denotes modesty; the deeper this line is vertically, the stronger does this trait manifest itself; this line is also a primitive feature, and is seen (when present at all) at birth or soon after.

There is a delicately-traced line or depression just opposite this, observed in some subjects in the lower lip, dividing it in half; this is a sign of wit, and shows often in early childhood. (See

Fig. 164.) The lower lip of Prince Gortchakoff, Emile de Giradin, Jules Favre, Dollie Madison, Joseph Jefferson, Voltaire, and Phoebe Cary present varying degrees of this line or depression. These are all congenital lines of the face, and, being primitive, are highly significant of character. Lavater observes, of the lines of the face, that

Nature forms neither contours nor lines whose progression is not pos sible, coherent, natural, and homogeneous.*.

THE WRINKLES OF THE FACE.

There are few persons born with wrinkles upon the face. When this phenomenon is observed its cause is found usually in some accidental modifications during prenatal life, unless the wrinkles appear upon the forehead and remain; in this case they denote inherited peculiarities of some sort, either of weakness or of strength, depending upon their depth and direction. As a rule, young persons never exhibit wrinkles upon any part of the countenance, unless they are possessed of much capacity for emotion or for reflection. Wrinkles make their appearance first usually at the corners of the eyes outwardly, at the signs for Mirth and Agreeability. It is only later in life, after thought and experience have ripened the mental and social powers, that other wrinkles appear. Writers on art have done much to mislead the public upon the subject of wrinkles, they having always advanced the idea that all wrinkles were indicative of old or advanced age, and, therefore, not signs of beauty. Nothing can be farther from the truth, for certain wrinkles reveal many beauties of mind and dis position. I hold that their forms are indications of beauty quite as much as a regular outline of the nose or an oval form of the cheek, while certain others disclose malicious, dishonest, knavish propensities and practices.

It is true it takes time to form wrinkles, whether good or bad, but youth, it should be understood, is not the only season of beauty; a scientific knowledge of the face will enlarge our conceptions as to what constitutes true beauty, and will not contract our understanding of it to the shortest and most immature portion of life. On the contrary, it will teach us that as experience, learning, and the exercise of the most beautiful traits of character set these signs of their action in the face in the form of wrinkles, these are indications of greater beauty than the smooth and comparatively expressionless check of infancy or youth.

The smooth, shining, unwrinkled face of the adult resembles

* Lavater on Physiognomy, vol. ii, p. 238.

that of an infant, and often is accompanied by relatively infantile characteristics; for thought and feeling will leave their impress upon the visage of every one who possesses these qualities. An unwrinkled adult face is indicative of absence of reflection, intelligence, or feeling. Now, a smooth skin may compensate vain persons for absence of all these fine powers, but it is a very poor substitute later in life for all these qualities which make the character beautiful and the mind intelligent. Without thought or reflection, and when old age comes on, a smooth skin merely is a very poor compensation. When I observe a person past thirty years of age who has not formed some creditable wrinkles, I infer either a very shallow, selfish, unreasoning character, or a very deceptive, hypocritical one. There is an old saying that "gray hairs are honorable;" we might say with more accuracy that wrinkles are honorable, provided they are in the right place and are the shape which denotes goodness or talent.

A smooth, shining, round face, without any wrinkles, belongs to a character suave, plausible, flattering, dishonest, and unprincipled; one who is "all things to all men." Such characters make good speculators and politicians, and are well calculated to get a living without working for it.

As a general rule, deep wrinkles indicate a mind that has been immersed in profound study.

Those persons with the thoracic system dominant do not exhibit as many nor as deep wrinkles as those with other formations, for, although they may have good and pure tastes and literary aptitudes, yet they are not as profound scholars as are some, nor are their emotions as lasting; the buoyancy of their spirits prevents long-continued mental labor and long-sustained emotion, hence they retain in age a more youthful manner and a smoother face than those with other symptoms dominant.

Each feature has its own peculiar wrinkles; not only so, but each of the five systems of functions produces characteristic wrinkles.

The dominance of muscle causes one sort, the dominance of fat another, the supremacy of bone yet another variety; while round bones cause wrinkles to assume a form quite different from those produced by square bones; hence it is evident that wrinkles. are highly significant of character and wonderful adjuncts to a complete understanding of the human face.

The general laws of Form apply with as much force to the meaning of the forms of wrinkles as to the meaning of the forms of the bones or muscles. Straight and square wrinkles reveal straightforward and honorable qualities, while oblique wrinkles