mental acumen, and greater accuracy of all our powers and capacities.

In studying the science of physiognomy, each one should observe for himself, and note whether the signs I give correspond with his own observations. If they do not appear to do so, he should renew his investigations until his observations are verified or disproved by incontrovertible evidence. Scientists are not infallible; yet it is not unreasonable to presume that one who passes a life-time in the study of a particular department of Nature should know more about it, and collect more extended and accurate knowledge on the subject than the casual observer. Yet even these may discern phenomena which have escaped the notice of more attentive persons. All should endeavor to contribute something to physiognomy and leave their discoveries as a legacy to generations yet unborn. It is in this manner that the great astronomers co-operate and leave their observations to be added to and built upon by those who follow.

The direction which analytical power will take in each case is shown by other faculties in combination. If one possess the artistic combination, like Canova, he will best analyze artistic works. If the mechanical traits predominate, he will be adapted to the criticism and invention of mechanical objects. If the dramatic traits are pre-eminent, the analysis of character will be exemplified. If Color, Form, Size, and Imagination are dominant, we shall find exhibited the works of a Titian, a Carlo Dolci, or a Caracci. If the musical sense is greatly developed, Analysis assists in the separating and resolving into their constituent elements the principles of music. Where the literary faculties are large, it assists by simile, parable, allegory, and figures of speech the writings of the literary character.

There are so many sorts of analytical power, and so many grades also, that it is impossible to represent them all by writing. They must be studied in the living subject.

The situation of the sign for Analysis is noteworthy, and, taken in conjunction with its nearest neighbors, is highly significant and corroborative of its use and purpose. The sign for Mental Imitation adjoins Analysis, and is located just forward of it, while Ideality, Imagination (æsthetic taste) are quite close, and Sublimity, Human Nature, and Constructiveness are all in close proximity. Truly a wonderful group! This collection of signs thus arranged reveals to us why it is that the noses of artists, poets, inventors, musical composers, actors, littérateurs, and discov erers are all so developed about the tip and septum, for here are congregated a band of noble assistants to the fine arts and useful

professions. The development of this part of the nose discloses the course of evolution by ethnic characteristics, and teaches us that the noses of the most talented and the most useful of all the finer races advance into prominence and in complex configuration according as the character is enriched by the physiological development of the race. The impoverishment, mentally as well as physically, is disclosed more by the nose than by any other feature, although phrenologians would have us believe that the forehead presents greater proofs of the presence of intellect. I shall show before I finish these pages that large size of forehead is not proof of great intellect, and that, taken alone, it will not verify any such assumption; while the nose, taken alone, will not only disclose the kind of intellect with which one is endowed, but will also reveal its activity and give a correct idea of the respiratory, circulatory, and digestive powers as well.

So much has been observed and recorded of the analytical powers of every species of animal that it is difficult to select instances to illustrate their possession of this trait, which the arrogance of man has assumed to be an exclusively human faculty. The Rev. J. G. Wood has collected a large number of anecdotes relating to the mental and moral characteristics of animals, from which I extract the following, as showing that fertility of resource, ingenuity, and adaptability of means to ends are extended throughout the animal kingdom. He observes:

While a friend of mine was last week superintending his workmen in a wood, he observed his dog, a retriever, busily occupied in collecting mouthfuls of hay and withered grass, and carrying it all to one spot. On going to examine it he found the deposit made was on a closely-coiled hedgehog. The dog, having attained his evident purpose of rendering the spines harmless, proceeded to take up the heap with its contents, and then set off triumphantly toward home.

To this he adds:

No human being could have acted in a more judicious manner, and had a man saved his fingers by enveloping the hedgehog in grass he would not have felt particularly flattered if told that he had acted by instinct and not by reason.*

MENTAL IMITATION.

Definition. The capacity for imitating mental efforts, as in art, poetry, literature, science, and mechanism; the ability to imitate the voice, the walk, gestures, and human passions, as in the drama and in oratory; copying the appearances of Nature by the painter's brush or sculptor's chisel; the propensity to imitate the

* Man and Beast, Here and Hereafter, Rev. J. G. Wood, p. 29.

dress and customs of associates, and to "catch the manners living as they rise" of those by whom surrounded.

An excess of Imitation divests one of all originality, and, like the parrot, causes one to become the echo of others.

A deficiency of imitative power makes one non-progressive and incapable of improvement by observation of the manners and customs of others, or by imitating superior methods in art, business, manners, dress, literature, etc.

Facial and Bodily Signs.-The most pronounced facial sign

POET.)

Born in France, 1606. Conspicuous facial sign, Mental Imitation, shown by development of flesh under the tip of the nose. The law of the straight line and curve governs this countenance. The signs for Firmness, Conscientiousness, Love of Home, Patriotism, Benevolence, Approbativeness, Mirthfulness, Alimentiveness, Love of Young, Amativeness, Friendship, Color, and Modesty are all conspicuous. In the nose the signs for Mental Imitation, Hope, Analysis, Human Nature, Ideality, Acquisitiveness, Constructiveness, Sublimity, Veneration, Executiveness, Self-will, Form, and Size are large; while Observation, Language, Memory of Events, Order, and Intuition are well defined. The hair is in waves and rings,-a truly poetic condition.

for

Mental Imitation is shown by the downward projection of the tip of the nose, just under the signs for Ideality and Sublimity, and forward of Analysis. The signs for Physical Imitation, or the capacity to imitate the voice, ges ture, position, and movement, such as dancing, gymnastics, singing, acting. skating, and all athletics are shown by a wide mouth, full lips, rounding limbs, muscular and flexible hands and tapering fingers, together with flexi bility of the entire muscu lar system. These latter signs denote that phase of the faculty of Imitation which assists dramatic expression, oratory, and athletics generally, and can

be instantly detected by the graceful attitudes and easy motions of the body and limbs.

DESCRIPTION OF MENTAL IMITATION.-Close and extensive observation of the physiognomies of the most talented, creative, and original people discloses the fact that the nose at its lower part about the tip presents an appearance quite different from that observed in the noses of infants and of undeveloped races, and of those in civilized life who are stupid or commonplace, or wanting in originality and literary and artistic ability. The logic to be deduced from these phenomena is that there is a clear and distinct

relation between the development of this part of the nose and the grade of intellectual development of the race or individuals among whom these appearances are discovered. Small, inferior, sharppointed noses, without literary or artistic talent, and a finelydeveloped, broad-tipped nose, with literary and intellectual endowments, are the indications by which these two distinct formations are known.

What is the base of supply of Mental Imitation? is the question which concerns us here and now. The muscular and brain systems are undoubtedly

the origin of this faculty. To assure ourselves of the truth of this postulate we have only to look to the ethnic peculiarities of those races of men and animals which are lacking in Mental Imitation, and we shall find absence of both muscular and brain development, as well as sensitiveness of the nervous system. Furthermore, if the tip of the nose, for example, is unusually developed in a race or individual it is logical to infer that it has more complex nervous relations and a more extended nervous apparatus signs for the moral and domestic traits. These are all

than are found in noses that are relatively small and undeveloped. I do not know that this has been demonstrated by actual experiment by dissections, but

NOVELIST.)

(DRAMATIST AND

Born in England. Conspicuous facial sign, Mental Imitation. The law of the straight line and curve governs this physiognomy. The appearance of the upper portion of the face gives us a tolerably good idea as to the formation of the lower third, where are situated the

well developed. The writings of Mr. Collins prove that these sentiments held a large place in his nature. The mental signs in the nose are most clearly defined. Hope, Analysis, Mental Imitation, Ideality, Sublimity, Constructiveness, Acquisitiveness, Veneration, Executiveness, and Self-will are most decidedly developed; while Prescience, Form, Size, Observation, Locality, Language, Music, Order, Memory of Events, and Intuition combine to make this mind a first-class power in the literature of fiction.

I do know that it is good physiological and anatomical logic, for Nature never evolves a feature without furnishing adequate nervous mechanism, as well as muscular and venous supports, when required to perform a certain task. Every sign in the face has a very long tale behind it,-has a physiological history, which must be read in order to understand its origin. Now, development of the nose, more particularly of the point of the nose, is revealed only in those races whose general development (by evolution)

has advanced to a very high grade as compared to the lowest races, hence we are justified in ascribing the development of the power to copy mental efforts to, first, general development of the entire body and mind, and, second, to a special development of this particular capacity for art, literature, etc. Now, these branches of human knowledge must have not only the assistance of sensitive nerves, but also the aid of well-developed flexible muscles; therefore, the signs for Mental Imitation are found located in and revealing themselves by the muscles and nerves of the point of the nose, and in the muscles rounding out at the side of the forehead and in the orbicularis oris, or the muscle around the mouth which assists it in opening and closing, together with the levator zygomaticus major and minor muscles, and muscles of the face which pull the orbicularis up and down.

Here is given in brief the origin and physiological meaning of the signs for Mental Imitation. The signs in the nose and forehead are the indications of the capacity for thought, for the creation of mental imagery, as in plays, fiction, essays, history, etc.; while the signs in the mouth, limbs, and hands are evidences of the physical phase of imitative talent, and indicate the ability to copy the walk, gesture, attitude, and position, as well as the power to reproduce vocal effects, both human and animal.

The singer, elocutionist, and orator must have a fine muscular development in order to produce well-modulated, sonorous, and long-continued vocality. They must have, also, sensitive, musical ears in order to receive and imitate the sounds which they reproduce. The ventriloquist relies upon a peculiar construc tion of the muscles and cartilages of the vocal organs and acuteness of hearing. The best actors possess round muscles. These are essential to the expression of the most graceful attitudes and gestures. The voice in its pitch, modulation, and changes in imitating the vocal characteristics of various characters is dependent on fine flexible muscle for its power. It may be argued by those who are not closely observant and highly analytic that Irving, the actor, is thin and not muscular. Now, the fact is that he possesses long and flat muscles and square bones. This combination would seem, to one not experienced in analyzing anatomical differences, that he was not muscular, as flat muscles never produce the fullness and roundness of contour which characterize the round form of muscle. Yet, the muscle in him is relatively greater than the bony structure; hence, his power for gesture, vocality, etc. The reader may look for the nasal sign for Mental Imitation in the physiog nomies of Dickens, Lotta, Bernhardt, Ellen Terry, Edwin Booth, Doré, Byron, Guido, Reni, Tom Taylor, Tourguienieff, George