the impossibility of judging of the shape and size of the brainmatter by an external examination. More particularly is this impossibility emphasized when we endeavor to find the existence of a mental or cerebral "organ" of Size at the sides of the ethmoid bone. The evidence of our senses in dissection, as well as by outward observation, shows that there is nothing but bones and sinuses (little hollow openings which assist the resonance of the voice) at this place. I am quite earnest in my endeavor to prove to the student that this is the case, for, in order to be intelligent in the science of physiognomy, one must be able to trace phenomena to their origin, otherwise the knowledge will be merely surfaceknowledge. The protuberances observed about the superciliary ridge are caused by bony deposition and by muscular development, as can be proven in the local signs for Weight and Locality.

Now, having given very good evidence from those who do not accept the phrenological theories of "brain organs," I next offer evidence just as conclusive from the writings of George Combe, one of the founders of phrenology. He remarks thus:

One part of the brain, however, does sometimes present a difficulty. I refer to a cavity called the frontal sinus. It lies above the nose, and is

found between the external and internal surfaces of the skull. The size of this sinus varies, but recollect that it only interferes with five organs— Form, Size, Weight, Individuality (Observation), and Locality.

Again, below the age of twelve it does not exist, and, as the five organs before mentioned are generally very active before that age, the sinus cannot interfere with our observation of them before that period. The sinus, therefore, presents no difficulty in the way of our discovering the functions of these organs if we study subjects below twelve years of age. The opponents conceal these facts. After this age it appears, gradually enlarges, and after twenty may present some difficulty to the observer.*

In a foot-note he observes:

I was the first to maintain that it was impossible for us to determine with exactness the development of certain convolutions by the inspection of the external surface of the cranium.

This corroborative evidence from this gentleman and from the others, equally distinguished, is offered not so much to prove phrenology wrong in some of its conclusions as to prove the basic theories of scientific physiognomy right. The reasoning of Mr. Combe is not tenable where he says that "as the frontal sinus does not exist below twelve years of age it cannot interfere with our observation of these five organs."" The truth is that by the absorption of the cellular tissue and the separation of the bony plates the cavities called the frontal sinuses are formed at or about the age of puberty, and this change assists the resonance of

*Combe's Lectures on Phrenology, p. 131.

the voice as it changes from the fine, soft tones of childhood to the sonorous and deep bass of adult life; and that is all the significance to be attached to this change, except the further fact that complete ossification of the bones of the superciliary ridge and of the ridge of the nose does not take place nor cause their permanent and true form, size, and solidity until the age of puberty, and in some cases not until after that period. Hence it is that we are better able to judge of the size of the practical and mechanical faculties whose local facial signs are situated upon and about the bones and muscles of the superciliary ridge, after they have become developed by age and matured by the action of the evolutionary process described above. The localities of many of the "perceptive" faculties, as given by phrenologists, are correct. Their idea of ascribing to brain-substance what is palpably a bony or a muscular structure is erroneous. The whole course of the development of the several tissues of bone, brain, and muscle also proves this, and reveals the true origin of the faculties of Size and Form to be in the width of the median portion of the bony structure, recorded in and certified to by the width of the os frontis and ethmoid bones of the face.

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FIG. 94.-JOHN LEO GEROME. (HISTORICAL AND
PORTRAIT PAINTER.)

Born in France, 124. Conspicuous facial sign, Size, shown by great width between the eyes. The law of the straight line and curve governs this physiognomy. The lower division of the face discloses the signs for domesticity and moral power. Firmness, Conscientiousness, Benevolence, Love of Home, Patriotism, Approbativeness, Economy, and Sanativeness are all large. From the form of the eyes and general curvativeness, we know that Love of Young and Amativeness are normal at least. In the nose the signs for artistic capacity are apparent. Mental Imitation, Ideality, Sublimity, Constructiveness, Acquisitiveness, Veneration, Executiveness, and Self-will are prominent, while Form, Size, Color, Calculation, Observation, and Locality are of the highest order. Memory of Events, Language, and Intuition are well defined.

The uses and function of the faculty of Size are unlimited and beyond enumeration. In conjunction with Form its application is to every single atom of matter in space and to every object whatsoever in existence. Every thing has form, consequently has magnitude or dimensions. All mental imagery is formed through the agency of these two dominant faculties. Plans for conducting a campaign or a law case, or for carrying on a business, are aided by the faculty of shaping. Every writer upon any subject whatever relies upon these two geometrical qualities for carrying out

his plans. All architects, artists, sculptors, dress-makers, carpenters, shoe-makers, and mechanics of every sort depend upon these traits for the basis of all they construct. Their action is universal, and illimitable. In combination with Constructiveness they enter largely into the works of fiction, of poetry, and of plays. The writings of the poets abound in images of all sorts, and some of them, as, for example, Milton and Dante, portray the figures of monsters of horrid mien and gigantic size in a manner most vivid and graphic. In the physiognomies of these writers the signs for Size, Form, Constructiveness, Credenciveness, and Imagination are very large. So also we find the same development in Bunyan's face, as well as in Dickens'. Taine describes Dickens' character most admirably, and quite in accord with the principles of scientific physiognomy. He shows that the power to form or visualize his characters is one of his strongest traits, and he thus describes him. He says:—

There is a painter in him, and an English painter. Never surely did a mind figure to itself with more exact detail or greater force all the parts and tints of a picture. If he is describing a home, he will draw it with geometrical clearness; he will put all his colors in relief; discover a face and thought in the shutters and the spouts! He will make a sort of human being out of the home, grimacing and forcible, which attracts our attention, and which we shall never forget.*

A scientific delineation of Dickens' physiognomy shows how accurately Taine paints Dickens' portrait from his works. This is a very subtle and philosophic method, and one which requires the best intellect, aided by the best intuition.

The capacity for calling up at will the size and form of any object once seen is the active memory of the twin faculties of Form and Size. The ability to bring up colors in all their vividness be longs to the memory of color; and so of every faculty. Each has a memory peculiar to itself, and this could not be unless every faculty was a force capable of sending out toward persons and objects a palpable living power from the human and animal mind. It meets with a response, showing that the special faculty in activity has thrown outward toward others in contiguity a positive, active, intelligent force, which, like lightning, is unseen, yet most decidedly felt, and by sensitive more keenly than by coarsegrained men and animals. The theory is that coarse peoplethose on a low mental grade-are more sensitive to the stronger and lower classes of passions, such as revenge, hatred, malice, force, and resistance, than they are to the higher and nobler traits of love, sympathy, patriotism, and sublimity; the lower passions or forces being more powerful in their action, while the higher

*History of English Literature, H. A. Taine, pp. 585-589.

ones send out a more subtle force, and can be better sensed and appreciated by the finer and higher order of beings.

The ideas of relative size change with age and with practice in judging of dimensions, by noting discrepancies in goods or objects handled. Size in combination with Form, Weight, and Reason give ability for geometrical studies, while Size, Form, Constructiveness, Ideality, and Mental Imitation give the talent for novel-writing, and, with Music and Time added, ability for writing poetry. Add to these large Love of Young, and capacity for writing stories and poetry for children will be developed.

Form, Size, and Weight assist the sculptor, the dentist, and the engraver. They must all have the same combination to enable them to imitate forms, and also to assist in guaging the force of the blow of the chisel and graver. Engravers must also have a good color-sense, else they will be deficient in judging of the proper shading of their pictures. I once employed a very superior engraver, but he lacked color, being of a very light complexion, and having light, sandy hair. It was with the greatest difficulty that I could get him to put sufficient black color into my pictures; but in Size and Form he excelled, and engraved portraits (the most difficult branch of the art) with unerring fidelity and precision.

The botanist, naturalist, chemist, physician, and explorer require the faculty of Size. It is found large in the physiognomies of Stanley, Livingstone, Fremont, Marco Polo, Captain Cook, Sir Joseph Banks, De Soto, and Hendrick Hudson, Linnæus, Descartes, Sir Astley Cooper, Dr. Pasteur, John Dalton, Liebig, Huyghens, Sir Isaac Newton, Blaise Pascal, Torricelli, Copernicus, and Paracelsus. Minds such as these men possessed had the power of visualizing the objects and combinations of forms which they dealt with, and were thus enabled to picture in the "mind's eye" the inventions and discoveries made and scenes visited and explored. In Galton's work on "Inquiries into Human Faculty," the author devotes great space to the investigation of what he terms "mental imagery," the capacity for which depends upon the faculties of Form and Size being large, although I believe he nowhere speaks of this as the origin and base of what he terms "visualizing." Physiognomy proves that where these two faculties are large, the ability to reproduce mentally shapes and outlines is much greater than where they are not so well developed. The following very just remarks by Mr. Galton are appropriate to the subject, and I quote them to show his understanding of the mental aspect of Size and Form. He observes thus:

There can, however, be no doubt as to the utility of the visualizing faculty when it is duly subordinated to the higher intellectual operations.

A visual image is the most perfect form of mental representation, wherever the shape, position, and relations of objects in space are concerned. It is of importance in every handicraft and profession where design is acquired. The best workmen are those who visualize the whole of what they propose to do before they take a tool in their hands. The village smith and the carpenter who are employed on odd jobs employ it no less for their work than the mechanician, the engineer, and the architect. The lady's maid who arranges a new dress requires it for the same reason as the decorator employed on a palace or the agent who lays out great estates.. Strategists, artists of all denominations, physicists who contrive new experiments, and, in short, all who do not follow routine have need of it. The pleasure its use can afford is immense. I have many correspondents who say that the delight of recalling beautiful scenery and great works of art is the highest that they know; they carry whole picture-galleries in their minds. Our bookish and wordy education tends to repress this valuable gift of Nature. A faculty that is of importance in all technical and artistic occupations, that gives accuracy to our perceptions and justness to our generalizations, is starved out by lazy disuse, instead of being cultivated in such a way as will, on the whole, bring the best return.*

The practice in early life of fashioning objects with tools, and of drawing, undoubtedly develops the faculty of Size as well as of Form, and men who are put at books early in life, and deprived of all mechanical employments, suffer deterioration of these faculties. Then, too, the mental action of these faculties, as well as the inten sity of their power, changes with advancing age and change of pursuits. In childhood, if the observing faculties are keen, and Form, Size, and Locality very decided, the outlines and location of every thing observed will be remembered, and nothing, however minute, will escape the sight of one who is gifted in the observing or practical traits; but as age advances, and brings with it a development of the reasoning powers, the observing faculties assume a partially introspective action, and the mind works more interiorly, hence sees fewer material objects, and the individual will pass by, unnoticed, things which formerly would have attracted his attention and have been photographed upon his memory in all the accuracy of their form, size, and position in relation to other near objects.

The antagonism between the power for visualizing external material objects and the capacity for abstract memory has been noted by Mr. Galton, and on this topic he says:

My own conclusion is, that an over-ready perception of sharp mental pictures is antagonistic to the acquirement of habits of highly-generalized and abstract thought, especially when the steps of reasoning are carried on by words as symbols, and that if the faculty of seeing the pictures was ever possessed by men who think hard it is very apt to be lost by disuse. The highest minds are those in which it is not lost, but subordinated, and is ready for use on suitable occasions. I am, however, bound to say that the missing faculty seems to be replaced so serviceably by other modes of conception-chiefly, I believe, connected with the incipient motor sense, not of * Inquiries into Human Faculties, Francis Galton, p. 113.