To all of this there must be brought the most unflagging energy, patience, perseverance, and a determination to succeed. The labors of such as Worcester, Webster, and Johnson in one department of philology have been of incalculable benefit to millions, and will descend to posterity to aid its efforts to remote ages, while those of Max Müller and Professor Whitney in another branch of Language will ever be remembered with gratitude by all who can appreciate their labors.

THE SYSTEMS AND FACULTIES ESSENTIAL TO AN EDITOR.

If one were to examine the physiognomies of a group of, say, twenty editors, one would be inclined to say that it would be necessary to give a description of each one separately in order to arrive at a knowledge of editorial capacity. Editors, like musicians, are of many diverse forms and of all nationalities, yet to the prac tical physiognomist they exhibit, as do musicians, certain indications in common. They require, and all successful editors possess, certain general characteristics which fit them for their career. There are certain individualities which distinguish each one of them—a peculiar mode of expression or of management which comes to be recognized by their readers. All these are as distinctly individual as are their respective physiognomies. It is true that editors, like all other professional people, are graded in classes according to the sort of newspapers which they publish. Some publish religious journals, others secular; others dramatic or musical, or humorous or illustrated papers. Some of these require certain traits which the others do not, yet all must have, to be successful, good health, a well-developed domestic nature, a good mental endowment, together with a fair degree of scholastic knowledge. To all this the editor must add a knowledge of current literature. If he write for a religious journal he must be conversant with the theological knowledge of all eras; if for a political paper, he must possess a comprehensive knowledge of the politics and politicians of his country, past and present, with all their measures and movements. If he edit a musical or dramatic paper, then he must be familiar with all that pertains to these two realms of art.

Occurrences.

All editors require a good general memory of facts, dates, and A knowledge of the biography of all sorts and conditions of people is necessary. A large acquaintance with public men and women is essential. A gift of Language, A gift of Language, with power to use it in an original, brilliant, forcible, or witty manner, is one of the essentials of a popular editor. He must have Mental Order and Time in a large degree, and for a musical journalist the

No scientific physiognomist could mistake or misinterpret the hieroglyphs of Nature which ornament every feature of this speaking countenance. The signs of many sorts of talent are here revealed. The eyes, eyelashes, and eyebrows, taken alone, are a guide to the linguistic and emotional part of the character. The muscular and brain systems are supreme, the thoracic and osseous systems stand next in rank, while the vegetative powers lend their aid in such degree as to enrich both the domestic and social sentiments, as well as to produce a vigorous physique. The chin and lower jaw are artistically curved, disclosing artistic tastes. The signs for Conscience, Firmness, Benevolence, Love of Home and of Young, Amativeness, Alimentiveness, Mirthfulness, Approbation, Friendship, Hospitality, Pneumativeness, Sanativeness, Color, Modesty, and Self-esteem are all conspicuously displayed. There is a good share of Force and Resistance. Cautiousness is large and Secretiveness normal. The nose discloses great capacity of several sorts: it is artistic, commercial, and executive. The signs of Hope, Analysis, Mental Imitation, Human Nature, Ideality, Sublimity, Construction, and Acquisition are all conspicuous; so, also, are Veneration, Executiveness, Reason, and Self-will. The mechanico-artistic signs are large. Form, Size, Observation, Calculation, and Language are excessively developed. This subject has capacity for art and literature as well as for finance and exhibits great administrative powers. The mouth and eyes announce talent for Language, both verbal and oral. The size of the nose reveals force of character. The hair is waving-another a sthetic symbol. Altogether, the physiognomy of a social, domestic, literary, and able woman. Her talents are well suited to her great life-work-editing illustrated journals.

faculties of Music and Time are necessary. For the editor of an art journal the faculties of Form, Size, and Color are requisite. Cautiousness is useful, yet Energy and Force must be exhibited on all questions requiring them. Mirthfulness in a large degree is needed by the humorous writer, and, if the editor manages a paper as well as writes for it, he must have good executive powers. Added to all of these many gifts, he must exercise untiring energy and manifest a desire to lead and excel. Lazy or spasmodic writers seldom succeed or become popular unless they possess genius. In these days the plodding, persevering writer (if he have a fair talent or aptitude for journalism) is the one which makes. the strongest and most permanent impression upon the public mind.

With this analysis I take pleasure in presenting the physiognomy of Mrs. Frank Leslie, a most able and successful editor of several illustrated journals.

THE SYSTEMS AND FACULTIES REQUIRED BY A WRITER OF FICTION.

The prevailing opinion among people generally is that writers of fiction-and, indeed, all writers-require only brain development, including a large degree of imagination, in order to produce their works. That a good and suitable brain system is required is true, but that a fine and large brain without suitable bodily functions to assist emotion and create sentiment could produce a touching and popular work of imagination I do not believe.

The writer of fiction, then, requires a suitable brain and sensitive nervous system in order that he may be keenly sensitive to all external influences. He requires a fine muscular endowment in order to express emotion and passion. He must have a fair amount of osseous material to give coherence and stability to his thoughts; also a fine degree of the glandular powers to produce emotion. He needs the warmth and enthusiasm which arise from thoracic activity and all the fervor and enthusiasm which Color imparts. A large and active liver is essential to produce clearness of mind, analytical power, and fertility of suggestion. The proof that all these functions are necessary to writers of fiction is found in their facial development.

In order that a writer of fiction shall be not only popular and successful, but that his works shall find a permanent place in the regard of the public, very many high faculties are essential. In the first place, he requires a broad and warm, sympathetic nature. The domestic faculties must be as well developed as the purely mental capacities, for his success is owing largely to his skill in portraying the tender emotions and domestic sentiments, and, in

order to do this well, he must possess the capacity for feeling the same. Therefore, a writer of fiction must have strong Love of Home, of Young, and of the opposite sex. The latter trait is large in all of the great original writers, for this faculty assists creative efforts. A love of young is needed particularly by those who write for children, as it enables them to enter into the feelings and comprehend the characters of youth. A certain degree of

FIG. 378.-CHARLES DICKENS. (NOVELIST.)

The subject of this slight sketch possessed all the elements of character essential to a popular and successful novelist. The brain and muscular systems are supreme and of fine quality. The vegetative powers are exceedingly well developed, and created the lovely social and domestic sentiments wrought out in his works. The local signs for certain of these faculties are hidden by the beard, but Benevolence and Amativeness are visible and very well defined. The signs for Alimentiveness, Hospitality, Approbation, Friendship, Mirth, Sanativeness, Color, and Selfesteem are conspicuous. The nose is relatively short and broad and muscular, mainly-the artistic type; upon it one discovers the signs of Hope, Analysis, Human Nature, Ideality, Mental Imitation, Constructiveness, and Acquisitiveness all well defined. Veneration and Executiveness are not large, while Self-will is excessive. The signs for Form, Size, Observation, and Locality are all large. Calculation is deficient, Credenciveness average, Prescience lacking, Verbal Language well represented. The forehead is broad and curved laterally (corroborative sign of Constructiveness). The signs for Mental Order, Time, and Music are manifest. The face reveals capacity for deep feeling, both social and domestic, and herein lay Dickens' greatest power. The ability to express in language the domestic and social life and feelings of his characters is shown throughout his works, and constitutes the bond of sympathy between them and his reader. Abstract Reason was not his gift. The signs for Artistic Reason and Intuition are discernible. As a character-painter of certain phases of life he is unexcelled.

Conscientiousness is required to give thoroughness to the work, and to imbue the character of the writer with the power to feel in order to portray the like quality. The faculty of Benevolence is requisite; also Hospitality, Approbativeness, Friendship, Modesty, and a certain degree of Self-esteem. Large Mirthfulness is very essential. The development of all these sentiments is dependent upon normal and sound visceral organization, and this the writer must

have, not only to enable him to feel and portray these sentiments, but also to give the strength and vigor necessary to sustain the exhausting play of the emotions which the writer of dramatic poems, plays, and novels must experience in order to reproduce them upon paper.

The mental requirements of the imaginative writer are many and varied. He must have excellent analytical power. large

NOVELIST.)

I would that I could present the living countenance of this subject to my readers, for in it could be read at a glance the constructive character of every feature. The curving jaw and chin announce dramatic ability; the upper lip, Love of Young and Amativeness, both of which assist creative efforts. The thick, constructive nose is the very acme of mental and artistic creation, and the rounding temples furnish corroborative evidence of originality. The brain and muscular systems are dominant, while the osseous and thoracic follow closely in development, and a good endowment of the vegetative powers gives their quota of physical strength and domestic sentiments. The signs for Firmness, Conscience, Love of Home, Patriotism, Economy, Benevolence, Approbation, Hospitality, Alimentiveness, Friendship, Selfesteem, Modesty, Love of Young, Mirth, and Amativeness are well defined, and together form the foundation for a strong domestic and social nature. Pneumativeness, Color, and Sanativeness are strongly indicated. The nose is a remarkable feature, being long, wide, and high, and nearly straight in its outline. The signs for Ideality and Human Nature are large; Constructiveness, pre-eminent. Acquisition, Veneration, Reason, and Executiveness are conspicuous, while Self-will is a strong ally. Form, Size, Locality, Observation, and Weight are decided, while Credenciveness and Prescience are only moderate. Time, Order, and Language are manifest. Memory of Events and Intuition are strongly delineated. The hair is wavy-a secondary sign of artistic capacity. This gentleman was an excellent painter, and might have excelled in that direction had he persevered in it. His style of delineating character differed from Dickens' in this: he was satirical and exaggerated, while the latter put more humor into his caricatures, and both treated of the follies, weaknesses, and excellencies of character with the pen of an artist. For the scientific and psychological analyses of Human Nature we must look elsewhere.

Ideality and Sublimity, Human Nature in excess, large Constructiveness and Acquisition, a modicum of Veneration, and executive capacity in order to impart the same feelings to certain characters, and strong Self-will as well. The faculties of Form and Size must have a strong representation in order that he may visualize clearly and describe well his imaginary forms and figures. Color is essential,