Walker, and all the great minds that have observed and written upon this subject. It is an essential constituent of the mind of the detective, shopkeeper, policeman, railroad conductor, and teacher. Form has been extensively used in kindergartens, in object-lessons, in the past few years. It is destined to produce the most important results, developing in children a taste and talent for fashioning articles upon true geometrical principles. In these schools young children learn how to reproduce the form of the cube, square, sphere, circle, pyramid, and other geometric forms, and thus lay the foundation for all the trades and arts in early childhood. All young children should be taught to draw upon their slates and afterward cut out in paper the outline of every garment and the separate parts of every garment that they wear. Both boys and girls should be trained in this method at home and at school. Boys, in addition, should be taught to draw and cut out the individual parts of a house, a ship, and all sorts of machinery, and draw pieces of all things used in the mechanic arts, in order that they may be equipped for active work in a trade or profession as soon as they are old enough to commence the more advanced branches of mechanism.

The basic principles of Form, as given in this work, will assist the artist, mechanic, and inventor, and give physiognomists an infallible chart and compass to depend upon. These principles should be taught in schools in connection with physiognomy, as well as in relation to all object-lessons.

Animals possess in a most remarkable degree the faculty and memory of configuration. As low down in the animal tribes as the toad there are evidences of the presence of Form and Size, shown by its examining and testing the size of crevices in walls in relation to the dimensions of its own body; in other words, it takes measurements-makes calculations-of size and shape. Bees, as all bee-keepers know, can tell their attendant from a stranger. Smuggling dogs distinguish custom-house oflicers. Certain London railway dogs recognize their own special friends among the porters or other officers at the different stations, making, it is asserted, no mistakes. Other dogs frequently distinguish from other men the murderer, burglar, or thief, the butcher-dog or dog-stealer, the poor beggar or tramp, their masters' inferior and well-conditioned visitors, policemen and foremen, with their callings and their objects.*

Here it will be perceived that animals are guided not only by the shape and appearance of their friends and masters, but have an uncommon knowledge of human nature in a degree not possessed by man. Some animals, like some men, possess large Form and small Size, or the reverse. The parrot shows a decided power of recognizing persons, pigeons, and localities, but not vice versâ

* Mind in the Lower Animals, J. Lauder Lindsay, M.D., vol. i, p. 249.

(Darwin); while every one has seen the feats of "learned dogs and pigs," which are very expert in selecting alphabetical blocks by their shape and also perform many simple arithmetical problems, -of course, guided by the sense of Form as well as of Calculation. Animals suffer from perversion of this trait just as do human beings, and show it in just the same manner, viz., by suspicion of things but half perceived in the twilight or darkness of the night. Persons possessed of large Form, whose nervous systems have be come impaired, are often great sufferers from morbid fancies, imagining scenes of suffering or violence, in which they and their friends are actors. With large Credenciveness they believe in supernatural appearances, and with a talent, for poetizing they can produce in verse forms, figures, and landscapes with sur prising fidelity. Form in a large degree is an especial attribute of the poet, and the works of all talented poets teem with descriptions of figures, both supernatural and real. The physiognomies of Byron, Tennyson, Longfellow, Swinburne, Goethe, Schiller, Whittier, Burns, Mrs. Hemans, Shelley, Dryden, and Shakespeare are uncommonly broad between the eyes, and Size also is large, showing that they had the power of visualizing the characters and scenes which they have portrayed in verse.

Chess-players invariably exhibit large Form and Size. Paul Morphy, Zukertort, Steinmitz, and Blackburn possess a phenomenal degree of Form.

Blackburi. and Zukertort can play blindfold as many as sixteen or twenty games at a time, and win 20 per cent. of them at least.

The fact is that they can picture in the mind the positions of the chess-board and remember the positions of the pieces as they are played. It is related by the biographer of William Blake. poet and painter, that he could paint for hours the figure of a sitter long after he had gone. He said "he could see the person just as plainly as before leaving." Such power for mental photography is rare, indeed.

The sense of visualizing Form is not confined to those in civilized life, but is often exhibited by barbarous tribes. The Bushmen are excellent draughtsmen, and, according to recent travelers, are very expert in free-hand drawing, and draw the outline of a giraffe or buffalo with such unerring precision as to need Mr. Galton says:—

no correction.

The Esquimaux are natural geographers, and draw charts of their coasts which accord with those done by the most skilled draughtsmen of the admiralty.

From this description of the faculty of Form it is shown that

it is adapted to the knowledge of everything in existence, and that it is required alike by animals, barbarians, and civilized men.

The location of its facial sign adjoining the eye is a conspicuous example of the relation of faculty with function, for forms must be seen to be comprehended, and the eye is the centre of the signs of several practical faculties. The sign for Size adjoins Form and Locality, while the sign for Observation bounds them above. All these traits work together, and are naturally connected in their practical operations. The group of signs about the eye is an eminently noteworthy one, and serves to emphasize the wonderful methods Nature takes to make her meanings known to man. The grouping of the signs in the face is, next to physiognomy, the most wonderful fact in existence, as it is the most perfectly demonstrable.

SIZE.

"A dark

Illimitable ocean without bound,

Without dimension, where length, breadth, and height
And time and place are lost; where eldest night

And chaos, ancestors of Nature, hold

Eternal anarchy amidst the noise

Of endless wars, and by Confusion stand;

For hot, cold, moist, and dry, four champions fierce,
Strive here for mastery, and to battle bring

Their embryon atoms."-MILTON'S "Paradise Lost."

Definition.-Capacity for judging, by the eye, of size, height, depth, breadth, length, extent, volume, bulk, bigness, magnitude, distances, proportions, perpendiculars, plane-surfaces, angles, levels, etc.

An excess of this faculty could scarcely work injury to one, unless its activity interfered with business or pursuits in which its function was not required.

Its deficiency causes one to be inaccurate in the estimation of proportion, perspective, outlines, and of the sizes of the globe, sphere, prism, octagon, triangle, octahedron, hexagon, cylinder, cube, and other geometric figures, while perhaps able to draw and remember their forms.

Facial and Bodily Signs.-The facial sign of the capacity for remembering, judging, and reproducing the size of objects is found in the width or development of the ethmoid bone,-the bone which connects the nose with the forehead. When large, it gives width between the inner terminus of the eyebrows and forms a V-shape on the upper part of the nose, just below and at its junction with the forehead. The faces of all good artists, mechanics, draughtsmen, sculptors, architects, and dress-fitters exhibit this formation.

DESCRIPTION OF SIZE. The anatomical base of the mental faculty of Size is found in the width of the ethmoid bone. It can not be caused by brain development at this point for the reason that the bones and sinuses in this vicinity fill up the space which phrenology allots to the "organ" of Size. " of Size. The following descrip

tion of this portion of the face discloses the origin of the width at this junction:

On account of the frontal sinuses and of the diploe the external surface of the skull does not by any means exactly represent the internal, but is more smooth and even, and never accurately presents eminences and depressions inversely corresponding to those within. To some extent, however, and only to some, does the external surface of the bones indicate the projections on the surface of the brain. When a certain portion of the latter or a certain group of convolutions are very prominent, the skull in that region will be prominent, and vice versa; but we very seldom find distinct external elevations corresponding to individual convolutions. The bones, as well as the sinuses at this portion of the face, are numerous, and any person who will take the trouble to dissect a human skull and brain can soon convince himself that the brainsubstance does not cause the width at this part, and which is termed an" organ" of the mind by phrenologists. The ethmoid bone contributes to form the base of the ranium, the nose, and the orbits. It has little or no cellular tissue in its composition, except in the christi galli and in the turbinated plates. It is joined to two bones of the cranium, the frontal and sphenoid, and to eleven bones of the face.*

(CELEBRATED PAINTER OF NATURE AND OF ANIMALS.) Born in France, 1822. Conspicuous facial sign, Size, shown by width of the ethmoid bone. The law of the straight line and curve governs this face. The quality of this subject is very fine; the color-sense of the highest order. The lower part of the face is oval, the lips curved, the hair wavy, Form and Size pre-eminent; all are signs of the artistic nature. Conscience and Firmness are normal. Love of Home, Patriotism, Benevolence, Love of Young, Approbativeness, Friendship, and Alimentiveness are evident; Amativeness only about average; Modesty and Self-esteem well defined. The nose is high, long, almost straight, and shows the signs for Human Nature, Mental Imitation, Analysis, Hope, Ideality, Constructiveness, Acquisitiveness, Veneration, Executiveness, and Self-will large. Language is noticeable, while Form, Size, Order, Locality, Calcula tion, Observation, Weight, Memory of Events, and artistic judgment and Reason are well defined. Great perseverance and industry added to great talents have produced a grand artist in this subject. Her great merit has met with due recognition. Of her it has been said: "She is not beholden to the Louvre Gallery nor to Poussin; she does but look at the clear and open face of Nature."

Besides the sinuses and bones situated within this small space the bulbs of the olfactory nerves here find lodgment, as well as the ophthalmic division of the fifth pair of nerves. The bony ridge, denominated the superciliary ridge, or bones of the eyebrow, so

Practical Anatomy Robert Harrison, pp. 393, 584.

completely hides the brain that it is impossible to make any estimate of its size or shape here. So true is this that all physiologists and anatomists have remarked it, and Dr. Dalton, writing upon the peculiarity of the brain-substance, observes:

A very extensive portion of the cerebral surface remains concealed in such a manner that it cannot

possibly be subjected to ex-
amination, viz., the entire base
of the brain with the under
surface of the anterior and
middle lobes, the upper surface
of the cerebellum, and the in-
ferior surface of the posterior
lobe of the cerebrum which
covers it, that portion of the
cerebellum situated above the
medulla oblongata, and the two
opposite convoluted surfaces
in the fissure of Sylvius where
the interior and middle lobes
of the cerebrum lie in contact
with each other. The whole
extent, also, of the cerebral sur-
faces which are opposed to
each other in the great longi-
tudinal fissure throughout its
entire length is equally pro-
tected by their position and
concealed from external exami-
nation. The whole of the con-
voluted surface of the brain
must, however, be regarded as
of equal importance in the dis-
tribution of the mental quali-
ties; and yet it is evident that
not more than one-third or one-
quarter of this surface is so
placed that it can be exam-
ined by external manipulation.
It must, furthermore, be recol-
lected that the gray matter of the cerebrum and cerebellum is every-
where convoluted, and that the convolutions penetrate to various depths in
the substance of the brain. Even if we were able to feel, therefore, the ex-
ternal surface of the brain itself, it would not be the entire convolutions,
but only their superficial edges, that we should be really able to examine.
And yet the amount of gray matter contained in a given space depends
quite as much upon the depth to which the convolutions penetrate as upon
the prominence of their edges. While phrenology, therefore, is partially
founded upon acknowledged physiological facts, there are yet insurmount-
able difficulties in the way of its practical application.*

FIG. 93.-LUDOVICO ANTONIO DAVID. (HIS-
TORICAL AND PORTRAIT PAINTER.)

Born in Italy, 1648. Conspicuous facial sign, Size, shown by width of the ethmoid bone just above the sign for Form. The law of the straight line and curve governs this face. Here we behold all of the salient points of the artist,-curves in every feature, and even in the hair the same curvilinear principle is observed. The chin is round and dimpled, the lower jaw curved, the mouth exhibiting a "cupid's bow" in the outline of the upper lip. The domestic and social traits are all well defined, among which Amativeness, Love of Young, Love of Home, Patriotism, Friendship, Mirthfulness, Approbativeness, and Benevolence are very prominent. Color and Sanativeness are conspicuous. In the nose the signs for Mental Imitation, Ideality, Sublimity, Constructiveness, Acquisitiveness, Veneration, Executiveness, and Self-will are very pronounced. Form, Size, Observation, and Calculation are excellent. Memory of Events and Intuition are large, while Reason (of the artistic sort) is well developed."

In the preceding paragraphs I have offered the evidence derived from the writings of two of the best-known anatomists, as to

* Dalton's Treatise on Human Physiology, p. 429.