and moral worth to the character, together with a stable, reliable mind; with the intellectual faculties large, the individual will seek to lead in public matters, reforms, etc.; with large Self-esteem and large Hope, he will exhibit a most inflated idea of his capacities, and in business will be too sanguine for success, always venturing beyond his depth; with large Approbativeness, added to Self-esteem, will become a "shoddy aristocrat" and assume airs of superiority, and be offensively egotistic, boast of "family," blue-blood, etc.; with large Love of Young, will always put children forward, boast of their attainments, and speak of them as great "beauties" and full of talent, when perhaps they appear plain and dull to others; with large Approbativeness, Force, Executiveness, and Firmness, will aim to be a leader, and become captain, officer, or superintendent by virtue of ability to be such; with large Language and reason added, will make a public speaker, and seek to influence the public mind. Self-esteem, combined with Firmness, Force, the Practical faculties, and Constructiveness, enables one to superintend large numbers of persons engaged in mechanical pursuits, as in foundries, workshops, etc.; with Acquisitiveness added, he will succeed well in commercial life, particularly where commerce is concerned in mechanical appliances, such as hardware, agricultural implements, machinery, and similar articles. Large Self-esteem, combined with Firmness and Conscientiousness, creates great dignity and honorable conduct; with intellectual faculties large, it will impart pride of one's moral and intellectual worth, and will make self prominent in all reform movements which bring into action moral and intellectual powers. Those with small Self-esteem and large Approbativeness will seek the commendation of others, and feel small and insignificant if not applauded or approved by them. If praise is withheld they will act and look cheap, and will almost apologize for being in existence at all, and will be deficient in dignity and independence, and will never feel that their conduct or efforts are quite as good as others, no matter how meritorious they may be; this class will almost live upon praise, and, when it is profuse, they will put forth all their energy and power, but unless praised will droop and become dispirited and probably fail.

The effect of a balanced self-esteem is to give a just estimate of one's worth; this lends to the character true dignity, independ ence, decorum, sense of propriety at all times and in all places; prevents clownish fun, and holds one up to a high standard of conduct. It is thus shown to be one of the most important moral powers, and should be developed in those in whom it is deficient.

An average development of the length of the upper lip assists in the symmetry and proportion of the face, yet those persons whose

only idea of beauty is derived from classic models profess to see no beauty in a moderately long upper lip, but think such a lip looks, as a lady once expressed it to me, "so plain."

The short upper lip, which is almost universally observed in the physiognomies of classic creations, is expressive of only one form of beauty. The Greeks had doubtless perceived that many of their talented poets and actors exhibited a short upper lip, hence this feature was used by them to express Art-beauty. Reference to the works of the Greek sculptors will disclose the short upper lip in the statues of many of their gods and goddesses who typified the Muses, and were considered the presiding deities of music, poetry, the drama, etc. Nearly all actors and actresses exhibit a short upper lip and are correspondingly deficient in Selfesteem, but large in Approbativeness. Self-esteem would, in an ordinary artist, detract from his acting, because the player must be able to hide his own personality entirely in order to faithfully portray the character which he desires to represent; hence, a strong sense of his own selfhood would conflict with his impersonations. A good actor of the imitative class must and does possess large Imitation, Secretiveness, and large Approbativeness, together with large Form and Size, to assist in posing, in gesture, and in arranging drapery, etc. He also has large Language, Amativeness, Love of Young, and Constructiveness. Now, these faculties and their accompanying facial characteristics may be found in the physiognomies of hundreds of those whom I term the “Imitative class" of actors. The "Creative class," like musical composers, are possessed of more lofty attributes of character, hence their physiognomies possess more powerful features, more individualized expressions, more Self-esteem, and relatively less Approbativeness.

The following description of features seen in the faces of the majority of imitative artists can be verified by placing any number of their portraits side by side. Although the individual expression may vary, the general forms of their features will coincide and will appear as here indicated: A soft, round, muscular chin, often dimpled; full lips, particularly developed at the signs for Amativeness and Love of Young; short upper lip; signs for Mirthfulness and Approbativeness very decided, producing wrinkles or dimples in the cheeks and at the exterior corners of the mouth; nose thick at the lower third, showing the presence of Constructiveness and Ideality; width between the eyes, showing Form; very large, bright, and prominent eyes, disclosing Language; arched eyebrows, indicating Credenciveness, and the upper and middle part of the face and the sides rounding; the face usually oval and the lower jaw inclined to curve. In this description you have the portrait

of hundreds of actors, singers, athletes, painters, and the artistic class generally. The variations within these classes are shown by variations in the shape of the nose more than by any other feature, the musical nose being shorter than the nose of the others. although many of the imitative painters exhibit short, round, pug

noses.

The description of the great creative artists, composers. painters, etc., I reserve for another space. Suffice it to say that Self-esteem enters largely into their characters, and is a necessary part of the character which is accustomed to impersonate the grandest characters known in history, such as kings, queens, cardinals, generals, and philosophers. The first-mentioned class of artists delineate the lighter characters, such as ladies of fashion. chambermaids, fops, and comic characters generally, and these require the exercise of the lighter faculties of the mind; but the latter class of persons demand the exercise of the highest and strongest traits of character in their expression, hence the grander traits must be possessed by those who would interpret them on the mimic stage, in accordance with that law of human nature which permits the individual to express in deeds or works only those principles which exist in his own organism. Accordingly, we find in the physiognomies of the creative artists, such as Booth, Salvini. Mad. Ristori, Raymond, Barrett, Irving, and others of this class, a relatively long upper lip, disclosing Self-esteem, together with large Self-will; also a large, broad, long nose, denoting force of character; a large, broad chin, showing Firmness and Conscien tiousness or thoroughness and persistency in their impersonations. Large Language is also present, as is shown by the full eyes, while the dimpled chin in many indicates that their appreciation of the beauty of the opposite sex lies at the foundation of their creative minds, for sex-love and sex-appreciation are the great underlying forces which assist creative efforts in the mind, and are most decided traits in the mental construction of all the great creative minds in art, science, and literature.

The presence of a good share of Self-esteem in a character is always proof of the possession of a certain degree of high or noble traits, something which the possessor can respect and esteem. The chief office of this faculty is to assist in guarding the reputa tion by compelling the individual to behave in a self-respecting manner. Where it is largely developed the reputation as well as the character will be an object of solicitude, yet character will stand first in appreciation. The sentiments expressed by Mowbray in "Richard II," where he exclaims―

* Act I, Scene 1. Richard II, Shakespeare.

"Mine honor is my life; both grow in one;
Take honor from me and my life is done.
Then dear my liege, mine honor let me try;
In that I live, and for that will I die"-

will express the feeling of one with large Self-esteem.

MODESTY.

Definition.-Sense of propriety and decency; chastity; purity of thought; unobtrusiveness; reserve; "inclination to assume less than is one's due and concede more than is the due of others.' Physiologically, Modesty is exhibited by a love of personal cleanliness and neatness of one's surroundings, as in clothing, the domicile, etc.

An excess of Modesty is shown by painful bashfulness, diffidence or abject humility; by dislike of the attentions and society of the opposite sex; shrinking from notice; also by extreme cleanliness of person and "painful neatness."

A deficiency of this trait leads to boldness, arrogance, selfconfidence, indecency, lewdness, unchastity, lack of cleanliness, and indifference to vulgar language, filth, and dirt.

Facial and Bodily Signs.-As the base of Modesty is traced to the sensitiveness of the nerves of the skin, we shall, accordingly, find that a fine, thin, clear skin is one of the best indications of the presence of Modesty; also fine, smooth, glossy hair is another indication of sensitiveness of the nervous system. A most reliable facial sign is shown in the depth of the little perpendicular channel or groove which divides the upper lip in two, running vertically from the septum of the nose down through the facial sign for Amativeness. This trait is found large in all in whom the brain and nerve system predominates, whether this local sign be present or not. Blushing and downcast looks are physiological signs of excessive Modesty and sensitiveness.

DESCRIPTION OF MODESTY.-The predominance of the brain and nerve system always gives a more elevated cast of thought than the other systems. Its position shows it to be the highest in the organism; hence, where it preponderates it will be found to produce the purest sentiments and emotions. It is the system of quality, fineness, and sensitiveness. The nervous system was primarily evolved from the skin, and, as a fine, thin skin is indicative of a sensitive nervous system, the skin thus becomes a sign of purity, modesty, and love of cleanliness and neatness. The faces of Charlotte Brontè, Lucretia Mott, Elizabeth Barrett Browning, Beranger the French poet, and Lavater are well marked in this respect.

Many persons in whom the brain system is not dominant exhibit a large degree of Modesty. This is owing to the natural or inherited quality of the nervous system, for one may possess a very sensitive nervous system without the brain dominating. Many persons with the osseous system or the thoracic system in the ascendency exhibit a fine and sensitive quality of the nerves, and this sensitiveness of the skin leads to delicate personal habits and love of cleanliness and neatness of attire. When we consider

that the sense of touch is diffused over the entire surface of the body, and is produced by a net-work of nerves which ramifies upon the skin-covering of the whole body, we can easily understand why an individual with a sensitive quality of the nerves apprehends more readily the nature of things, of tactile impressions, than does one not possessed of a like degree of sensation. And, as a sensitive nerve needs more care, and cannot endure contact with gross matters as well as a coarser nerve-structure, it follows that the more sensitivelyendowed individual will seek protection in avoiding rough, gross, and filthy matters, and sustain his powers by cleanliness of the person and by neatness of attire, as well as by neat surroundings. By virtue of the same sensitive quality of the sense of touch the mind is quick and apprehensive, and this sensitiveness leads one to avoid impure, vulgar, and unchaste words and deeds. And in this exposition of cause and effect-of physiological cause and moral and mental effect-we find proof of the fact that mind, morals, and body are one and indivisible, and that there is no line of demarkation between them.

FIG. 54.-BELVA A. LOCKWOOD.* (M.A., TEACHER,
ATTORNEY-AT-LAW, REFORMER.)

Born in America. Conspicuous facial sign, Modesty, shown by the depth of the groove which is observed in the centre of the upper lip. The law of the straight line and square governs this face. The above portrait discloses a womanly and intellectual character. The domestic virtues are well defined. Conscientiousness is large. Patriotism, Love of Home, Benevolence, Amativeness, Love of Young, Mirthfulness Modesty, and Self-Esteem are conspicuous. In the nose the signs of Ideality, Sublimity, Constructiveness, Acquisitiveness, Veneration, Executiveness, and Self-will are large. Language is exceedingly well developed; so also are Form, Size, Locality, Prescience, Memory of Events, Order, Reason, and Intuition. This lady enjoys the distinction of being a practitioner in the Supreme Court of the United States. She is an ardent advocate of woman's equality, and is in all ways an illustration of what she professes.