WRINKLES UNDER THE EYES.

There is a great diversity of meaning in the wrinkles which form under the eyes. Those which are fine, and appear in a circular form under the eyes in adults advanced in life, are signs of having used the faculty of Language in public speaking, and this exercise causes the flesh below the eye to bulge out. Deeplyformed wrinkles under the eyes in youth are very strongly to be suspected as from dissipation and sensual indulgence.

WRINKLES ON THE FOREHEAD.

From the father of physiognomy, Lavater, we have many excellent observations upon the meaning of wrinkles in the forehead. From his work I extract the following:

Oblique wrinkles in the forehead, especially when they are nearly parallel, or appear so, are certainly a sign of a poor, oblique, suspicious mind; parallel, regular, not

too deep wrinkles, wrinkles of the forehead, or parallel interrupted are seldom found except in very intelligent, wise, rational, and justly-thinking persons. A forehead the upper part of which is intersected with conspicuous, circularlyarched wrinkles, while the lower half is smooth and wrinkled, is certainly dull, and almost incapable of any instruction. Wrinkles of the forehead which on the slightest motion of the skin sink deeply downward are much to be suspected of weakness; if the lines are stationary, deeply indented, and sink very deeply downward, entertain no doubt of weakness of mind or stupidity, combined with avarice and a lack of sensibility. But let it be remembered at the same time that genius most luxuriant in abilities usually has a line which curves remarkably downward in the middle under three almost horizontal parallel wrinkles. Perplexed, deeply-indented wrinkles of the forehead in opposition to each other are always a certain sign of a harsh, perplexed, and difficult-to-manage character.*

FIG. 320.-TALENTED WRINKLES.

The forms of the wrinkles on the forehead depend upon the form of the underlying bones and muscles. How significant of character, then, must each variety of wrinkle be to the student of physiognomy! A straight and square bone causes the formation of a different-shaped wrinkle from that produced by an unevenlydeveloped bone. An oblique wrinkle comes from a very differently shaped bone from that which is the product of a square and

* Lavater's Essays, p. 465

straight forehead. The wrinkles simply repeat the form of the underlying bone and muscle, and are therefore accessory signs of character.

WRINKLES OF THE NECK.

Deep, circular wrinkles around and under the chin are indications of too much fatty tissue; they belong to slow, easy-going people, not given to much thought, except when the brain is large and of high quality; in this case this combination creates character of great mental vigor, and capable of profound and protracted mental labor; it indicates a combination of the mental with the vegetative system. The portraits of Dumas, the novelist; Gibbon, the historian; Johnson, the philologist; Arkwright, the inventor, and many eminent jurists exhibit this combination.

Wrinkles running obliquely just behind the ear, on the neck, show that age is creeping on. Deep wrinkles at the sides and back of the neck, lying in every direction, are signs of advanced age, or exposure to the fierceness of the elements.

GENERAL WRINKLES.

Numerous and very fine wrinkles all over the face, lying in every direction, indicate a life passed in petty cares and petty savings; also, a querulous disposition. The same kind of wrinkles, when they are deep, reveal the miserly habits of a life-time.

DIMPLES.

THE SIGNIFICATION OF DIMPLES.

How are dimples caused, and what do they mean? They are caused, first, by a collection of adipose tissue; second, by a peculiar formation of certain muscles and bones at the joints and elsewhere. Dimples generally form around joints, as well as on parts where the soft, fat tissue has accumulated; these are found only on fat or plump persons; they indicate ease-loving, mirthful, and affectionate natures. Dimpled babes are always mirthful and happy; the great store of vital material, as shown by the dimples, gives ease and enjoyment. They not only exhibit dimples upon various parts of the body, but also upon the wrists, knuckles, cheeks, and chin.

"I was going to kiss the dimples from out the little cheeks,
Where they ripple and they dance every time she laughs or speaks;
She said I shouldn't do it, but I held her fast and tight,
And kissed and kissed the very little face with all my might.

And then a pair of eyes twinkled very gravely out,
And a pair of little lips gathered up a doleful pout;
With little drooping corners,-no wonder, you will say,
To see such bonny, bonny dimples stolen away.

I thought I should have kept them for just a little while;
But little teeth were soon peeping through a little smile;
And then a laugh like sunshine was over all her face,
And every dimple I had stolen was back again in place.”

DIMPLES IN THE CHIN.

The dimples in the point of the chin are of two general forms, the round and deep and the straight or cleft; they are very deep in some, less so in other, faces.

The round dimple in the chin is a permanent feature, and does not depend upon the amount of adipose tissue. It is caused by, first, the presence of round bones; second, by a peculiar formation of round muscles. This combination causes the levator menti muscle to dimple; this dimple is never present when the bony system predominates, but only when the muscular system ist supreme. This sort of dimple is observed frequently among the literary and artistic classes; the meaning of this dimple is love of the beautiful in the opposite sex. It is found in the chins of poets, writers of fiction, painters, actors, singers, composers, and also in many who have a taste for the works of all these classes.

Among those who exhibit a beautiful dimple in the chin are the following: Lord Byron, Dean Swift, Sheridan, Mozart, Molière, Horace Vernet, Racine, Christine Nillson, Boccaccio, Aimée, Campanini, Saintly, Theodore Thomas, Lavater, Liszt, Schumann, Schubert, Jos. Jefferson, Henry Irving, Mdlle. Croizette, Mdlle. Baretta, Doré, Miss Harriet Hosmer, Robert G. Ingersoll, and Wendell Phillips.

A love of the beautiful in the opposite sex is one factor in creative talent; it assists the sculptor, artist, actor, poet, and composer in forming their ideals, and if this trait did not reside in their organisms on a large scale they could not exhibit the beautiful poems, statues, and melodies which they bring forth.

The dimple in the chin is often one sign of a voluptuous and pleasure-loving person, generally good-natured and inclined to be generous. Louis XV possessed a dimpled chin, and was noted for his love of beautiful women; he was also a great prodigal. Dimples in either cheek or chin are associated with large, full eyes, and these tell us of the shape of other remote features and members of the body, as well as the accompanying traits and

talents.

DIMPLES IN THE CHEEKS.

The dimples observed in the cheeks usually occupy two distinct localities. The approbative dimples are situated at the outer sides of the cheeks, and the mirthful dimples are at the corners of the mouth.

Approbative Dimples.-These dimples form part of the sign for Approbativeness, and are accompanied by an agreeable disposi tion; they are often deep and round; in some they are long and lose themselves in the "approbative wrinkles." The round dimple in the cheek is associated with large, full eyes, and proceeds from the dominance of the muscular system; it is characteristic of many artists, and all who possess it are agreeable, flattering, mirthful, and formed for sociability. It is a great beauty, and many who possess these dimples are not content that they appear while the face is animated, as in talking and smiling, but they very foolishly bite the lips and stretch the mouth in order that the dimples may be apparent at all times. This movement argues great vanity. A coquettish disposition is usually associated with these dimples.

The long, cleft dimple in the cheeks is indicative of Approbativeness and Mirth, not so pronounced as the round one; it also is a mark of beauty, and points to a genial, social disposition. Approbative dimples in the cheek do not show so early in life as do the purely mirthful dimples at the corners of the mouth; the former appear along with the exercise of the faculty of Agreeability, while the mirthful dimple is shown by the exercise of spontaneous mirth on the part of the infant, which is of the nature of

instinct.

Mirthful Dimples.-Mirthfulness is a primitive function and faculty, and inheres in the glandular system mainly, although it asks the assistance of the muscles to carry out its interests, as in games, wit, singing, acting, etc. These dimples are situated at the corners of the mouth, and, in some very merry subjects and in many infants, appear in little clusters of two or three cunning little depressions; they add greatly to the variety and beauty of expres sion of the face, and indicate a fun-loving, mirthful, sportive, or witty disposition. In some these dimples are round, in others they are cleft or lose themselves in mirthful wrinkles at this part of the cheek. Nell Gwynne, an actress and one of the celebrated court beauties of England, exhibited dimples on chin, cheeks, hands, arms, and shoulders; she was an arch, droll, vivacious, and humorous actress. Her dimples added a great charm to her piquant beauty.

Within a nest of roses,

Half hidden from the sight,
Until a smile discloses
Its loveliness aright.
Behold the work of Cupid,
Who wrought it in a freak,
The witching little dimple,
The dimple on her cheek."

The dimples on the knuckles, wrists, shoulders, and other parts of the body are caused by muscular formation and adipose tissue, and denote good health, good nature, and an amative or affectionate disposition.

THE TEETH.

THE PHYSIOGNOMICAL SIGNIFICANCE OF THE TEETH.

Very little attention has been paid to the meanings of the teeth by modern writers on physiognomy, yet they are not only highly significant of mental characteristics, but of physiological peculiarities as well. It must be apparent to the thoughtful that features which are composed of such solid material-which are so important to the human economy, and which are situated in such a prominent position-are of great value as physiognomical indicators. Although these features are not external facial features, they are assuredly strong physiognomical indices of character, and as such are properly a part of this science. The entrances to many of the great internal organs are situated in the human face. The rounded contour or the shrunken appearance of the cheeks and nose announce definitely the form and condition of several of the internal organs, and these are dependent primarily upon the motion or activity of the fluids (as in the circulation of the blood, the juices, and secretions) for their shape.

The teeth guarding the entrance to the digestive tract stand representative of its physiological condition, as well as of the mentality and morality which have been created largely by physiological activities. The resultant forms of the jaw and teeth, then, open up an immense field of physiognomical knowledge.

The form, size, color, texture, and relative position of the teeth present distinct meanings, and one might fill a large volume with descriptions and illustrations of these useful and beautiful features, but as I am limited in space I can present only a few. I have conversed with many skillful dentists upon the physiognomical meanings of the jaws and teeth, and I have not found one who had formed any definite idea of them in relation to character. I predict that many excellent dental observations will be made after a study of this volume.