cal and anatomical structure advances with it. Animals have no need of human expression, for their limited pathway through life is such that a greater part of our Language would be useless to them; and yet, I think, no one has ever become greatly attached to a pet dog or horse without wishing a thousand times that it could converse with him. I must confess, I have often longed to hold converse with my horses and dogs, and have felt great sorrow at their limited powers in this direction. Their physiognomies are most expressive. Particularly is this the case with dogs, which feel all the emotions that excite us, for they express love of young, of the opposite sex, hatred, revenge, grief, sorrow, jealousy, friendliness, benevolence, mirth, trickery, acting by gestures, looks, and capers, and, as they cannot show all these emotions to us by speech, Nature has given them lithe, flexible bodies and expressive eyes and singular motions, as well as a tail with which they can show shame, fear, joy, and other feelings.

I advise my readers to make a study of ethnographical physiognomy, and compare the facial and other appearances of different races, in relation to the signs of Language shown by each. But of one thing I am sure: they will in all cases find the most talented linguists, speakers, orators, and elocutionists in those races and individuals who possess the best-developed and finest muscular systems, fine quality always serving as a test of superiority.

MUSIC.

Definition. The love, genius, and capacity for producing musical tones by the voice or upon an instrument; ability to sing and play music without instruction; a sense of melody and rhythm as in speaking, conversing, and in poetical composition, related to the movements of the earth and to the pulsations of the heart and other organs; the talent for musical composition.

An excess of the musical sense cannot be considered detrimental, for where it amounts to genius its possessor can make a most practical use of his art and give happiness to thousands; it need not be suppressed.

A deficiency of the faculty of rhythm and music is a very great detriment, and efforts should be made in early life to improve this natural defect. This can be done by training the child, first, by causing it to attend to the quality and pitch of natural sounds as emitted by animals and birds, and then by training its ear and voice in vocal and musical sounds. Many apparently hopeless cases have been greatly improved by a systematic course of training. Knowledge and recognition of sounds and tones is most essential in many professions. The character is more harmonious and

symmetrical in conjunction with a good degree of musical ability. One's safety often depends upon knowledge of sounds, and a keen ear is necessary in the use of the telegraph and some surgical instruments.

Facial and Bodily Signs.-The most conspicuous facial signs of the presence of the musical faculty are found in the mouth, ear, tongue, teeth, lips, cheeks, nose, chin, and eye. The signs in the eye are secondary; the other signs are primary and belong to

the apparatus which emits and receives musical and vocal tones and sounds. Musical capacity is large in those who exhibit a large mouth or one of average width; full, red lips; rounding cheeks; short, round, soft, muscular, or cartilaginous nose; a chin well developed in regard to length, height of the roof of the mouth, relative length of the face from the tip of the nose to the point of the chin, and fullness of the forehead, where are located the frontal sinuses. The fullness at this point shows that the cavities of the sinuses are large and hollow, and this peculiarity of formation assists resonance of tone, acting upon the principle of the drum. The ear must be rounding in form, and the concha of the auricle or shell of the ear in all good musicians exhibits verti cal, lateral, and perpendicular development. Most musical ears have many flutings and convolutions, and are of all sizes, from the tiny, round, pink ear, resembling a sea-shell, to the large, round, and long ear seen upon the head of some organists and other instrumentalists. E. M. Bowman, an eminent Boston organist, possesses very large, rounding ears; he is also of a large, round build, and well illustrates the musical form. Professor Willis writes, in regard to the ear, as follows:

FIG. 105.-ANNIE LOUISE CARY. (VOCALIST.)

Born in Maine, 1846. Principal facial sign, Music, shown by the round ear, pendent lobule, large mouth full, red lips; full cheeks; short, thick, muscular nose; length from the tip of the nose to point of the chin; full, round throat, curved jaw, broad and high thorax, rounding head and body. The law of the curve governs this physiognomy. In this face are all the signs for first-grade vocal ability. The domestic and social faculties are decidedly developed. Patriotism, Love of Home, Benevolence, Love of Young, Approbativeness, Hospitality, Friendship, Modesty, Color, and Self-esteem are very apparent. The nose at its point shows the signs for Ideality, Analysis, Hope, Sublimity, Constructiveness, Acquisitiveness, and Selfwill large; these faculties are used mainly in connection with music and language, and not in literature. The signs for Form, Size, Language, Credenciveness, Memory of Events, and Intuition are conspicuous.

The rounded, well-formed ear, that sets forward and outward instead of being flat on the head, is a good sign of musical taste, if not of talent. The voice, however, depends upon the structure of the vocal organs and the knowledge of using them.*

Lavater, too, understood the ear to be an indicator of musical and oratorical talent. He speaks of "eloquent ears, and the ears of a musician." Another observer gives as a sign of talent for singing "a heavy, pendent lobule" of the lower part of the ear. This sign is confirmed by reference to the ears of all the great prima donnas, bassos, and tenors, while those who are instrumentalists merely do not exhibit this formation.

The eye of all musicians, more especially of singers, is large, bright, rounded or convex, the eyebrows curved, and the general shape of the outline of the face is oval or rounded. The chin, cheeks, and the corners of the mouth of

dimples; the head is round or rounding.

The bodily signs of the presence of musical ability are shown by rounding body (caused by the dominance of the muscles); high, arched chest; full, rounding, or oval face; round throat, round arms and legs, arched feet; tapering, dimpled fingers; small and rounding joints. The musical structure is, in short,

COMPOSER.)

Born in Germany, 1770. Principal facial signs, Constructiveness and Music. The law of the straight line, curve, and square governs this physiognomy. This face shows constructive genius in every feature; even the hair in its manner of growth and position denotes inventive, original, individualized capacity.

quareness of the forehead indicates both rectitude

ius reveal the presence of both these traits. The

and scientific powers. The compositions of this great dimpled chin and curved "dramatic jaw" disclose dramatic ability. The nose is broad on the back its entire

length. The signs for love of the beautiful in the oppo

site sex, Patriotism, Benevolence, and Conscience are large; Mirthfulness, Love of Young, and Amativeness normal. In the nose the signs for Ideality, Sublimity, Mental Imitation, Analysis, Acquisition, Constructiveness, Venerat on, and Self-will are of the highest order. Language, Color, Form, Size, Observation, Prescience, Calculation, Locality, Reason, Memory of Events, and Intuition are pre-eminent. The expression denotes great capacity for prolonged attention and the po er of abstraction. This unequaled musical genius epresents the scientific side of Music in his wondei ful compositions, and is well named,-"The father of Music."

built upon a system of curves, ovals, ovoids, and roundness generally of every part.

DESCRIPTION OF MUSIC.-Motion is the basis of form, and form and motion are the bases of musical sounds. Musical sounds

* A Treatise on Human Nature, A. E. Willis, p. 624. Chicago.

are produced by the elasticity of the air and muscles, hence the muscular system is the one best adapted to produce musical effects, whether by the voice or by playing upon reed, wind, or string instruments; thus, motion, elasticity, and resonance are the basic elements of sound, yet all are resolvable into motion and mathematics as primary agents. The voice of man has also three properties, viz., force, pitch, and quality. In their ultimate analysis they are also found to be derived from motion, i.e., the movements

FIG. 107.-ETELKA GERSTER. (VOCALIST.)

Born in Hungary, 1857. Principal facial sign, Music. The law of the straight line and curve governs this face. The domestic nature is highly developed, as well as the artistic phase of character. The dramatic jaw, rounding chin, and size and form of the nose announce high dramatic qualities. The ear is a musical one, and by its numerous convolutions shows high

development of mind. The signs for Patriotism, Conscience, Love of Home, Love of Young, Amativeness, Friendship. Modesty, Benevolence, Mirthfulness, Approbativeness, and Color are prominent. In the nose the signs for Human Nature, Ideality, Sublimity, Construction, Acquisition, Mental Imitation, Hope, Analysis. Veneration, and Self-will are pre-eminent. Language, Form, Size, Observation, Location, Calculation, Memory of Events, and Intuition are large. It is the portrait of an incomparable artist, a devoted wife and mother, a gentle, lovely woman.

of the air, and primarily

from the movements of the earth through space.

The motions produced in the atmosphere by the sound of the musical tones of the voice or of a wind instrument are curved, and reach the ear (itself a curved or rounded organ both within and without), where they are taken up by the nerves and carried to the brain, and there become conscious sound.

Music being the universal expression of emotions, both animal and human, is based on universal law. Music is gen

erally classed with the arts. One expression of it, as in singing, is an art purely, yet its basis lies deep down in universal scientific law. It is connected with the very foundation of the universe, and stands related to the great chain of complex laws of astronomy, through the laws of number, motion, form, resonance, elasticity, harmony, melody, time, space, and rhythm, thus giving to the poetic term "the music of the spheres" a practical and scientific meaning. Many forms of musical expression are exhibited in the insect and animal kingdoms, but are best displayed and more musical where the muscular is one of the dominant sys tems, for no other portion of the animal structure is adapted to or capable of expressing sound or tone, either musical or unmusical.

The elements of sound are motion, curves, resonance, elasticity, as in the air; or as found in muscle, strings, or reeds, or other material capable of tension, as in the drum-head; or by resonance, as in reeds, pipes, and the cavities of the drum, banjo, horn, whistle, etc. The lungs of men and animals, and the frontal sinuses in man, as well as the nasal cavities, are analogous to the hollow cavities of the violin, horn, drum, reeds, etc. In all of these instruments the ruling elements are elasticity and a form suited to the production of sonorous vibrations. Now, the forms of all musical instruments are either round or curving. The musical sounds of the voice are also curved. On this point let me quote Dr. Dalton. He remarks:

The form produced in the atmosphere by the ogans of the voice in singing is a curve or a wave-like succession of impulses or tremors, which are carried forward through the atmosphere from the voice to the ear, and are there received by a rounding, external organ (the auricle or shell of the ear), thence carried through the meatus, a round channel, to the drum or tympanum, a resonant membrane stretched across the cavity of the meatus, which receives the sonorous vibrations that have been collected by the external ear and conducted inward by the external auditory meatus. Behind the membrana tympani is the cavity of the middle ear or the cavity of the tympanum. This cavity communicates posteriorly with the mastoid cells, and anteriorly with the pharynx by a narrow passage running downward, forward, and inward, called the Eustachian tube. A chain of small bones-the malleus, incus, and stapes (the mallet, anvil, and hammer, so called on account of their resemblance to these implements)-is stretched across the cavity of the tympani and forms a communication between the membrana tympani on the outside, and the membrane closing the foramen ovale in the petrous portion of the temporal bone. All the vibrations accordingly which are received by the tympanic membrane are transmitted by the chain of bones to the membrane of the foramen ovale. The tension of the membrane is regulated by two small muscles, the tensor tympani and stapedius muscles, which arise from the bony parts in the neighborhood

FIG. 108.-AUGUSTE EMIL WILHELMIJ.
(COMPOSER, VIOLINIST.)

Born 1845. Conspicuous facial sign, Music, shown by the supremacy of the muscular system; also by a short, round, muscular nose, rounding ear, and length from the tip of the nose to the point of the chin. In this face the signs for the domestic traits are manifest. Firmness and Conscience are normal. Love of Home, of Country, and of Young, with Benevolence, Modesty, Friendship, Alimentiveness, Pneumativeness, are highly manifested. The round chin and curving jaw announce artistic capacities. Cautiousness and Credenciveness are not conspicuous. The color-sense is well defined. In the nose the signs for Hope, Analysis, Ideality, Sublimity, Mental Imitation, Human Nature, Constructiveness, Acquisitiveness, Veneration, Executiveness, and Self-will are all well defined, the latter giving ability for musical leadership. The faculties of Observation, Locality, Form, Size, Calculation, Memory of Events, Time, Order, and Musical Reason are marked.