us how to trace the entire course of animal evolution in the face can quite easily find the source and origin of all faculties whose signs are imprinted upon the countenance and exhibited in the walk, the voice, the gesture, the handwriting, the movements, and habits of body and mind. There is nothing occult or mysterious in all this; the faculties which are used in the investigation of other sciences are those which are used in discovering all these phenomena, and among them Intuition-insight, or a natural capacity for discerning the laws and operations of Nature-stands pre-eminent. It is one of the faculties upon which the physician and teacher rely for their power to heal and teach, and all great or eminent physicians and teachers exhibit the signs of this faculty. The physicist, scientist, and naturalist, too, must be endowed with high intuitive powers, else they will fall far short of the requirements of their profession. Artists in every department, if they achieve a high rank, possess this trait. Celebrated poets, painters, actors, orators, etc., are largely indebted to the operation of Intuition for their greatest efforts, for they, like Mozart, must be able without "aiming at excellence to attain it in a spontaneous manner. This faculty lies at the base of all great inventions and discoveries in natural law. It assisted Newton in his discovery of the great laws of motion and Darwin in his discoveries of the laws of natural selection. I advise the reader, if he wishes to note the manifestation of an intuitive and observing genius, to read the "Origin of Species" and the "Descent of Man," by Charles Darwin, whose works have made an epoch in scientific thought, and have revolutionized natural science in this century.

The investigation of human nature, both in regard to its mental and bodily manifestations, is greatly aided by Intuition, for in intercourse with our fellows we must be able to immediately detect existing conditions of mind, and their grade or status of character. Without some natural provision of this sort we should be obliged to carry about with us certificates of character signed by those who have had experience with us, or else wait for years of acquaintance with each other before we could acquire positive knowledge of each other's characters; hence, character-reading is an ordinance of Nature, and common alike to man and animals. Lavater, Porta, Cicero, and many others were geniuses in this direction, and divined, as it were, the characters of those with whom they came in contact; yet Intuition is not Human Nature, but each depends upon the other for assistance. All of the higher faculties of mind are more and more complex in their operation and manifestation as they rise in rank, and it takes the highest and most finely organized faculties to comprehend in a talented manner the rationale of this complexity.

Thus we see in every century a few men and women who have shone resplendent in their intuitive comprehension of character. Shakespeare, among intuitional character-readers, takes first rank. Yet the number of physicians, scientists, orators, inventors, artists, and discoverers who have been possessed of talent and even genius in this direction is legion. It is highly essential to the actor, to enable him to comprehend, seize upon, and portray the emotions which stir the hearts of the masses, and arouse them to action. In woman, as the mother of the race, however, is the highest degree of Intuition needed and manifested, for the compre hension, training, education, and government of children requires its greatest power, and in this department of life the most universal and constant degree of intuitive insight is exhibited, rising in some instances to positive genius in this direction.

Intuition is a conservator of life, for by the insight into character, motives, and health conditions its possessors are forewarned of that which would be hurtful. Indeed, this faculty, like all sciences, is one of Nature's methods of foreknowing-of prevision and of protection.

Children in most instances possess a high development of Intuition, but, like many infantile instincts, it is stifled by the accumulation of technical and experimental knowledge which they gain by age and education. Most children, like many animals, instinctively feel the characters or tone of those about them, and even in infancy are attracted or repelled by the personal appearance, physiognomy, or magnetic atmosphere or aura which is thrown out from those with whom they come in contact. This intuitive "sensing" is their only method of knowing people, and of protect ing themselves until experience and acquaintance have given them other methods of distinguishing character and conditions.

When we come to an investigation of the animal kingdom we shall find the highest forms of Intuition, not excelled even by human genius, for it must be understood that in the case of animals it is the acquisition of ages of practice in given directions which lead them so unerringly to do those things which are scornfully termed by man "instinctive," and which are looked upon by him as mere automatic acts, inferior to the reason, observation, and calculation which man uses in his works; yet when this same automatic, spontaneous talent is exhibited by an Arago or a D'Alembert in the science of numbers, or by a Coleridge, a Hartley, or a Byron in poetry, by a Mozart, a Bach, a Haydn in music, we enthrone them among the greatest of earth's geniuses, while eminence, riches, and immortal fame await them. Genius acquires its gifts precisely as the animal acquires his automatic powers of

building, providing, path-seeking, and character-discerning, viz., by an augmented and intensified transmission of powers, which by long usage upon the part of ancestors have become incorporated into the very constitution; or perhaps by the action of some obscure and hidden law of heredity and selection the germ of life of the genius has become vivified in some favorable maternal nidus, and, thus endowed, it shines forth resplendent in the world of mind or art, and we have a Cicero, an Aristotle, a Bacon, a Shakespeare, a Michael Angelo, or a Herbert Spencer; and the unthinking, unscientific world, looking up to the achievements of these men, exclaims: "From whence comes all this splendor? Neither father nor mother were like unto these." So slight is the knowledge of human beings in regard to their powers and natures that it sinks into insignificance when compared with the instinctive genius of animals, who, without instruction, can produce buildings, domiciles, nests, combs, dams, and webs founded upon the highest laws of architecture. They can trace their course through the boundless spaces of ether, and return to their homes without chart or compass; and all this they are able to do from birth, without education or training. What human genius has ever been able to accomplish this? In presence of such facts it becomes us, human mortals, not to be too conceited, egotistic, or top-lofty, but, in all conscientiousness, and in a spirit of comprehensiveness, to acknowledge that this wonderful instinctive knowledge of all the animal tribes is their compensation for the lack of the hands and developed cerebrum of man. Very happily has George Henry Lewes remarked that "Instinct, like chance, is one of those words which men use to conceal their ignorance.' Yet the manner in which they use it betrays to an observant person the very thing which they would conceal.

One might fill volumes with accounts of the intuitional genius of animals. I bring forward no examples here, for they are all about us, and as numerous as the sands of the sea; hence it is needless to point to any special cases, for their number is exceeded only by their marvelous ingenuity. In some directions the humblest animal is superior to man; yet, by virtue of man's possessing hands, speech, an upright position, and a more complex brain and nervous system, he stands at the head of the animal series. Intuition is a gift which man shares in common with all the higher animals, differing in degree, yet the same in kind.

The portraits in this chapter are most of them those of superior persons, hence, as the reader has doubtless observed, very few deficiencies have been noted in their faces. In the chapter which follows there will be displayed and described the physiognomies

of many defective and abnormal beings, such as the criminal, the feeble-minded, and the undeveloped. The reader can institute comparisons between these and those. This course will afford a fine opportunity for discerning the differences existing between those who are highly developed in all parts of their organism and those who are greatly lacking in certain departments, and also between those of high and those of low quality. The subject of beauty according to art-standards has not been considered in this chapter. A scientific delineation of the face reveals meanings which art fails to expound as beauties; for the most part, art considers as beautiful the most infantoid forms of features and outlines of faces,—that is, those abounding in curves. The higher and more severe styles of beauty, viz., those which reveal the square and cubical forms, art does not, as a rule, consider beautiful.

The reader of the preceding pages has, I opine, learned that beauty of character appears in all normal forms, and that whatever form reveals genius, talent, morality, physical power, or capacity for usefulness may well be considered as beautiful. In order to have a comprehensive view of the human face and its associated character we must enlarge our understanding of the meaning of Form, and come to learn its inherent significations. We must, in short, come up higher into the domain of scientific knowledge,― into the adult stage of mind,-and from this height learn, accept, and apply what Nature reveals to us of the human physiognomy.

CHAPTER III.

THE HUMAN FACE IN OUTLINE, MOTION, FEATURE, EXPRESSION, AND COLOR.

"The history of a man is his character, and his character is written on his organization and might be read there had we but senses acute enough to decipher the organic letters. There is not a thought of the mind, not a feeling of the heart, not an aspiration of the soul, not a passion that finds vent, not a deed which is done, that is not graved with an unfailing art in the structure of the body; its every organ and the constituent elements of each organ grow to the fashion of their exercise, and there is nothing covered that might not be revealed, nothing hid that might not be known."-H. MAUDSLEY, M.D.

VERY form in Nature reveals its own history. In order to be able to read this history, we must learn to apply the alphabet of form, and thus spell out the entire signification of the human face and body.

Every motion expounds its own purpose. Natural gestures are a part of the personal form, correspond to it, and are as individualized as the features.

The outline or contour of each human body is a circumferential entity. Each distinct limb and feature is a fragment of this. entity, and declares the homogeneity of the whole.

Each color and shade reveals the health conditions, native force, integrity of the tissues, and the intensity of the emotions.

The human physiognomy is the highest and most perfect of forms, because it includes, sums up, and expounds all form, hence contains the record of all lower forms and illustrates the laws of form and motion. Not only does each individual human countenance unfold its own bodily and mental status, but it is also the index of countless ancestral traits, types, and influences. Every face announces its possessors, grade in morality, mentality, and physiological activity, as well as his racial connections and national descent. It reveals also his mental aptitudes, often his sectarian proclivities, his habitual pursuits, his vices and his virtues, both active and latent, and to the scientific physiognomist it sums up the totality of its accompanying character.

The laws of muscular motion (from the action of which expression mainly proceeds) must be rightly comprehended in order to understand and translate motion and form into character. two kinds of expression, permanent and transient, depend almost

The