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These modern names are more than matched by the host of talented Hebrews, gifted in every art and science, who flourished in Spain from the eleventh to the fourteenth centuries, the true "golden age" of Hebrew intellect.

Every true poet must possess the sense of Sublimity in order to bring his mind in unison with the awful and majestic, as exhibited by Nature in her grandest and wildest moods. The roar of the mighty ocean, the rush of the deadly cyclone, the terrific thunder-peal and vivid lightning-flash, must arouse the poet to that degree of intensity that his soul is stimulated to pour forth in grandest verse the exalted expressions which such scenes inspire. It is these vast operations of Nature that have given the impulse to the inspired writings of Homer, Hesiod, Sappho, Dante, Shelley, and Byron. It was Sublimity permeating every sense which gave to Michael Angelo the power to portray the sublime "Transfiguration of Christ" exhibited in the Vatican. It was the same faculty which impelled Guido Reni to give to the world the magnificent "Aurora," to be seen in the Palazzo Rospigliozi at Rome, and the spirit of this sentiment can be discerned in the message which he sent to the Cappucini at Rome, with his celebrated picture of St. Michael. He wrote thus:

I wish I had had the wings of an angel, to have ascended into Paradise and there to have beholden the forms of those beatified spirits from which I might have copied my archangel, but not being able to mount so high I was forced to make an introspection into my own mind, and into that idea of beauty which I have formed in my own imagination.*

The highest constructive talent without Sublimity could never have guided the chisel of Praxitiles or Phidias, produced the Colossus of Rhodes, nor left to posterity the pyramids and sphynx of Egypt, and other gigantic works of art exhibited in the old world.

The sense of the sublime is not by any means confined to the poet, prophet, painter, and scientist. Many persons unknown to fame are gifted with a sense of the majesty and splendor of art, Nature, and human character. Were it not so, the poet would sing for himself alone, the painter would lack appreciation, the orator move no audience, and the scientist would have solitary enjoyment of the grand truths of Nature which he discovers. All through every community there are beings whose every-day life is tinctured with this noble trait, giving them larger views of life, of conduct, and of moral heroism, impelling them to act in the large and noble charities which disasters by flood, fire, and famine. originate. Sublimity creates the desire to be the largest merchant or manufacturer, or stimulates the deathless ambition of some * Painters and Sculptors, Mrs. Clement, p. 496. Boston, 1881.

youthful Edison, Watt, or Fulton, to send his name and inventive benefactions adown the stream of time.

Wherever we find large Sublimity in combination with large intellectual and mechanical faculties, the mind will be comprehensive and take a wide range of thought. Such a mind was Newton's; hence it was well adapted to the comprehension and discovery of one of the greatest, if not the most important law of Nature, viz., the law of gravitation.

In the speeches and writings of those who possess a large measure of Sublimity we find often the most exaggerated and ex travagant expressions. In the case of orators and poets this is quite appropriate, but in the every-day speech of private life such language tends to make one bombastic, inexact, and untrustworthy. Such persons should endeavor to tone down their descriptions to the plane of truth and practicality.

The cultivation of Sublimity, where it is deficient, can be attempted by visiting and viewing majestic scenery, such as high mountains, grand waterfalls, the raging ocean, spacious landscapes, listening to fine orations, inspecting the noblest works of art, and by associating with those whose lives, conduct, and conversation illustrate the faculty of Sublimity. The influence of locality has much to do with the development of this faculty. It is larger relatively in those who occupy mountainous regions than in those who live in the plains, unless they live near the ocean and feel the influence of its mighty, rushing waters. This develops and strengthens the sense of infinitude, and imparts more expansive ideas than are exhibited by those who live in narrow valleys or flat, level spaces.

Those who exhibit a large degree of Sublimity will, as a rule, in selecting a site for a residence, manifest it by building on an eminence where they have a view of the surrounding country. They will be the happier and more contented by the indulgence of this sentiment. It will prevent loneliness and often supply the place of human companionship. Where this trait is small and the practical faculties dominant, a convenient place will be the one most sought.

The combinations of traits found with Sublimity influenc man in many ways. With large Ideality, Language, and Con structiveness, a taste for poetic composition will be exhibited; with large Veneration, he will bow in adoration before the mighty manifestations of God's power; with large Locality added to large Sublimity, he will enjoy traveling, and will make great efforts to visit the most noted scenes, such as the Alps, the Yosemite, Niagara, the Garden of the Gods, etc., and will in communion

with such scenes feel "mightily lifted up" and overpowered by the stupendous architecture of God; with Human Nature added, he will love to listen to heroic deeds, and, with large Conscientiousness and Veneration, will enjoy the writings of the great moral and religious reformers, and will participate in moral movements for the benefit of mankind; with a mechanical mind and large Time and Calculation, he will display a taste for astronomy, and, with Constructiveness added, ability for invention.

The higher animals, no doubt, share with men in a limited degree this sentiment, for surely the fleet deer and chamois occupying the mountain heights must possess a higher comprehension. of vastness than the cattle confined to a plain or a barn-yard. The recognition of man as a superior being on the part of our domestic animals imparts to them ideas of superiority akin to the sublimity of feeling which actuates man in his belief in a Deity and in hero-worship and in his veneration for the great.

The position of the facial sign for Sublimity is significant of its office in the human mind. Its nearest neighbor is Ideality, while Human Nature, Mental Imitation, Analysis, Hope, and Constructiveness are in close proximity, thus showing the character of the company in which Sublimity is found. These faculties are all natural allies, and assist each other.

Sublimity and Ideality grace the speech and writings of all great minds, while the orator, sculptor, and painter are indebted to them for the beauty and grandeur which distinguish their works, and which render them immortal. The inventor, too, must needs have a large share of Sublimity in his composition in order to be able to comprehend the vast and complex chain of laws which connects all departments of Nature. He must be able to realize the universality of their application, and know how to apply the laws of mathematics, chemistry, force, resistance, motion, gravity, equilibrium, polarization, pneumatics, hydrostatics, acoustics, pyronomics, magnetism, and electricity. These sciences are vast and complex, and governed by natural mechanical laws, the principles of which must be understood by the inventor and by the intelligent mechanic. The action of these laws extends throughout space, and the force of gravity, together with the laws of centripetal and centrifugal motion, not only hold the entire solar system true in space, but are the controlling principles in the mechanism made by the hands of man. It is thus shown that in the invention of machinery and in the application of the great mechanical forces of Nature the discoverer and inventor must possess sufficient of the faculty of Sublimity to enable him to comprehend the farreaching results and action of these laws, powers, and forces.

An examination of the physiognomies of the most celebrated inventors, discoverers, architects, and mechanics will disclose the lower third of the nose well developed and the sign for Sublimity most decided. How can it be otherwise, when we know that minds of the highest order only are capable of comprehending and applying the grand principles revealed in Nature's laws? For this reason I claim that the greatest minds of the age, those most conducive to a high civilization, are the inventors, mechanics, and scientists. They rank higher than artists, musicians, sculptors, painters, poets, and actors in usefulness, in breadth of intellect, in integrity, and in the knowledge of God's immutable and eternal laws. Their characters must be based on Conscientiousness in order to be in harmony with the truths of Nature, for one with small Conscientiousness cannot enter into the spirit of the truths of Nature to the extent that one can who has large Conscientiousness added to large mechanical abilities. Let the reader scan the physiognomies of the following-named persons and he will observe an excellent development of the sign for Sublimity, varying in size according to the several systems of functions in combination. The local facial sign for Sublimity may be found in the portraits of Sir Christopher Wren, architect; Sebastian Vauban, French civil engi neer; Benjamin Franklin, mechanical discoverer; Leonard Euler. astronomer; also the Herschels, father and son, astronomers; James Watt, inventor; Richard Arkwright, inventor; Dr. Edward Jenner, discoverer; James P. Joule, chemical discoverer; Thomas Alva Edison, electrician; Dr. Louis Pasteur, discoverer; James B. Eadds, architect; C. H. McCormick, inventor; John A. Roebling, civil engineer; Elias Howe, inventor of the sewing-machine; Dr. William Harvey, discoverer of the circulation of the blood; Prof. S. F. B. Morse, inventor and discoverer. I might mention scores of others whose portraits denote the presence of the faculty of Sublimity, all of which serves to show that this trait assists the useful and practical purposes of life, and is one distinguishing feature of developed minds and bodies.

IDEALITY.

Definition.-Imagination, taste, love, and appreciation of the beautiful in art and Nature; sense of propriety, neatness, and refinement; love of perfection; capacity for improvement in æsthetic tastes; desire for finish, completeness, and thoroughness.

Its excess makes one fastidious, punctilious, squeamish, hypercritical, over-nice,-more nice than wise,-and causes loathing, disgust, and disdain for the low and vulgar; gives a love for the

unreal, creates an excess of imagination and gushing sentiment, and imparts a dislike for the realities of life.

Its deficiency is shown by boorishness, lowness, vulgarity, coarseness of language and manners, lack of taste and imagination, and slight appreciation of the beauties of art and Nature. Those greatly deficient are wanting in polish and refinement, and are unsuited to the study of the fine arts. They also take a commonplace or utilitarian view of everything, and some are characterized by an angularity of appearance, awkwardness of manner, and eccentricity of conduct.

Facial and Bodily Signs.-The most reliable and decisive facial sign for Ideality is indicated by width of the tip of the nose. This sign is relative. Where the quality of the subject is fine and the mental system predominant, the nose does not present as great width as when the muscular system is dominant, for fineness of the brain and nerve system is always accompanied by relatively less size of the facial signs, particularly of the nasal signs. Other and secondary signs are known by a straight outline of the nose; fineness of the texture of the skin; finely-arched, long, narrow, and even eyebrows; large, bright, clear eyes; graceful walk; elegant and appropriate gestures; clear and sweet intonations of the voice; fine, natural manners; æsthetic taste in dress, furniture, adornments, and surroundings; ideal, poetic, and imaginative language; neatness and good taste in domestic or other matters, and love of poetry, flowers, paintings, statuary, etc.

DESCRIPTION OF IDEALITY.-The physiological basis of Ideality is found (as are all the faculties the signs of which are situated about the tip of the nose) to be in the general development of the quality of the brain and nerve system; hence, it is the distinguishing characteristic of those persons and races that have attained by evolution to a certain degree of fineness and keenness of sensation, which puts them en rapport with the finer aspects of the works of Nature and of Nature's imitations in art.

The sign for Ideality has scarcely a rudimentary appearance in the noses of undeveloped races, and many persons in civilized races manifest very little sense of the ideal, the imaginative, and tasteful. Reference to the noses of such will show either a sharp, gimlet-like form at the tip, or, if the end of the nose be flat, blunt, and broad, as with the negro, the inherited quality will be seen at a glance to be of a low order; the skin and hair will be coarse, and the voice, language, manners, walk, and gestures will corroborate the face in its indications. We are now dealing with traits of quality, and a progressed evolution always raises the nose high above the plane of the face; therefore, wherever the sign for

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