the upper lip. This is where Amativeness is well defined. Yet it may be mentioned, in passing, that extremely secretive characters rarely possess a large degree of Amativeness; neither do they possess a very large emotional nature of any sort, and what little emotion is present in them is constantly suppressed

or held in check, and thus depreciates through want of exercise.

The secretive mouth should not be confounded with the meditative mouth. The profound thinker talks more than the secretive one, but, when he does speak, wisdom, good sense, and truth accompany his utterances. It is true, he does not show as great loquacity as the linguistic individual, yet can talk to the purpose and intelligently when he does converse. The upper lip of the most silent animals is similar in form to the secretive upper lip in the human family. The mouths of the several deer tribes, the giraffe, and some others are of this formation, and their upper lip projects slightly beyond the under lip.

THE SELF-ESTIMATIVE UPPER LIP.

FIG. 176. ROBESPIERRE. (THE SECRETIVE UPPER LIP.)

Self-esteem is known by relative length of the entire upper lip, from the nostrils to the line of closure of the mouth. Disproportionately short upper lips denote a want of Self-esteem, but always betoken a large share of Approbativeness and imitative ability of some sort. Exaggerated length of the upper lip gives to the character egotism and extravagant ideas of one's importance, and lends a ludicrous dignity to the character which is apt to unduly magnify its powers and importance.

FIG. 177.

A normal share of Self-esteem is a fine possession, for it shows that the character is independent, self-respecting, dignified, and quite opposed to lowness, meanness, vulgarity, and quite capable of holding the feelings under control.

One with large Self-esteem may or may not have the sign for Firmness large, yet some physiognomists have made the mistake of placing the sign for Firmness in the length of the upper lip. It is true that long-continued persistency in any direction, whether in thought or in manual labor which requires great perseverance, will make its impress upon the upper lip. It tends to close the mouth firmly and gives a slight fullness to the central portion of the upper

lip; but these are secondary signs, and are the result of the firm set of the lower jaw-bone which always characterizes those with bony chins, who have been very persevering.

To keep a "stiff upper lip" is an oft-repeated caution to those who might be capable of breaking down from the position assumed. The complexity of the muscles about the mouth, lips, and jaws renders it impossible for any of the features to act with or impress their movements upon one set of muscles alone; hence, the co-operation of the muscles of the upper lip with those of the lower lip and lower jaw affects the expression of all these features in varying degrees, and thus stamps the result of their action upon all the features in close proximity.

The locality of the sign for Self-esteem can be proven by observation of those who exhibit a long upper lip, and that of Firmness can be also known by comparison of the behavior of those with a long chin with those who exhibit a short or receding chin.

Self-esteem is a force which is a sort of will-power, inasmuch as it holds the individual to a certain consistent course of conduct, and this is of itself persistent, a secondary sort of firmness, and often mistaken for it by those unaccustomed to analyze closely the components of human character.

Nearly all of the traits have several phases of action, and these must be comprehended by those who would give accurate delineations of character.

For good examples of a normal or balanced degree of Selfesteem, examine the portraits of Thomas Jefferson, Charles Bradlaw, von Bulow, Horatio Seymour, Sir Rowland Hill, Hon. William M. Evarts, Lord Brougham, Zachary Taylor, Franklin Pierce, General Domingues, Dom Pedro of Brazil, Lord Randolph Churchill, Hon. John Marshall, Fletcher Harper, and the Duchess of Marlborough.

THE AMATIVE UPPER LIP.

If the centre of the upper lip present an unusual degree of fullness, redness, and moisture, the sentiment of Amativeness is excessive. Where there is a good brain system in combination with this indication we may expect to find creative talent of some sort; either a talent for acting or painting, for poetry, or for some other form of art. An excessive development of the centre of the upper lip is to be found in the face of Ellen Terry, Nat Goodwin, Madame Modjeska, Oscar Wilde, Bernhardt, Annie Louise Carey, Eugènie, Pappenheim, Lucca, Albani, Trebelli; quite full in Mrs. A. D. T. Whitney, Elizabeth Stuart Phelps, T. B. Aldrich, Charles Egbert Craddock, and in the upper lip of the eminent painters

Raphael, Vandyck, and thousands of others well known to fame as original creative minds. All these have an excellent brain in combination.

If the centre of the upper lip is excessively full and moist, the red portion seems loose and showing horizontal wrinkles, the inner side turns outward in laughing, and the

animal phase of sex-love is dominant. This peculiarity is observed in the faces of coarse, low characters. It is not accompanied by any large development of the brain system, but may co-exist with a large development of the muscles, and is hence found among horse-jockeys, low comic actors and singers, and other specimens of low-class, imitative characters. Imitation, it may be remarked, is a degree lower than creation.

FIG. 178.

HENRY WARD BEECHER. (AMATIVE UPPER LIP.)

Where the upper lip exhibits an excessive development of the red portion and there is a corresponding lack of intellect or moral power, it becomes by this unbalanced condition a criminal feature, and those thus characterized pursue a licentious career and are among those who commit assaults upon helpless women and children, and who are guilty of sins against chastity and decency. They really constitute a morbid variety in this direction. The faces of many professional criminals disclose great disproportion between the size of the upper and lower lips, indicating small benevolence or sympathy and inordinate amativeness of the criminal type.

There are many grades of power of this faculty, ranging all the way from undevelopment to talent and genius. The grade of quality of the subject should always be taken into account in summing up the character; also the amount and quality of the brain system. It is by the faculties in combination with Amativeness that we decide as to its method of action and its power of control,— whether it be normal in action, or exaggerated to an immoral degree.

THE NORMAL UPPER LIP.

In all well-balanced characters the colored portion of the centre of the upper lip will be of a decided red or pink color, moderately full, moist, and firm, and in finely-organized subjects the texture of the skin will be very fine. These appearances indicate a normal degree of Amativeness and a normal development of the reproductive system, as well as a balanced degree of Love of Young. The form which a normal

FIG. 179.-NORMAL UPPER
LIP.

sign for Amativeness assumes is a slight curve on the upper edge of the red portion of the lip and a rounding curve outwardly.

An upper lip to be normal must in length present harmony of proportion; neither too long nor too short; neither too thick nor too thin at the sign for Amativeness. In short, it must present a well-balanced form and size, such as would appear harmonious to those having a good share of the faculty of Proportion. In a small, narrow face the width would, of course, be less than in a large, broad face,―in accordance with the laws of Proportion.

THE MIRTHFUL UPPER LIP.

The signs for Mirthfulness in the human face are so numerous that one may find them in every feature in the face except in the nose. This organ being pre-eminently the indicator of thought, we shall fail to find the signs for any of the softer emotions in its outlines. The nostrils, it is true, co-operate in the emotions of surprise, rage, revenge, jealousy, and also in mirthfulness to a degree, but are not particularly disturbed by laughter, for the reason that this act opens the mouth, whereas all of the other emotions, except surprise, close the mouth, and thus doubly expand the nostrils.

FIG. 180.-COUNT CAVOUR.

Mirthfulness in the upper lip is shown by an upward curving, adjoining and externally to the sign for Love of Young. It is properly the aid and ready assistant to that trait, and these two faculties are always seen in combination. When one is large, the other is always well defined.

The sign for Mirthfulness in the upper lip sets a sign of beauty in the face. It also assists in giving an arch and piquant expression to the mouth in conversation and in laughter, and helps to form the third curve of the upper lip. The upper lip of the most noted comic actors and actresses disclose this sign and its accompanying expression, which expression is assisted by the signs of Mirthfulness in the eyes and other features, and all combined add a charm to the comicalities of such actresses as Lotta, Mrs. John Wood, Croizette, Aimèè, Coquelin, and Nell Gwynne.

It is also well marked in humorous writers. Observe the portraits of Hume, Voltaire, Madame de Staël, Oliver Wendell Holmes, Lucy Larcom, T. B. Aldrich, Phœbe Cary, S. S. Cox, Bret Harte, Col. Robert G. Ingersoll.

Among artists it is large,-Hogarth; "Cham," the celebrated French caricaturist, and Thomas Nast. Observe, also, the physiog nomies of Charles James Fox, Henry Ward Beecher, and Daniel

Dougherty (orators), who are celebrated for humorous, witty language.

Short upper lips are more mirthful than long ones, for a short upper lip pre-supposes an imitative character instead of a sedately individualized one, such as large Self-esteem creates. Most especially is the short lip indicative of Mirthfulness if the lip shows signs of Love of Young and the cheeks indicate large Approbativeness, as is usually the case with deficient Self-esteem.

All of the imitative classes of artists, actors, and many writers of humorous and witty works, exhibit a short upper lip somewhat curved in the centre.

THE VOICE.

The elements, features, and factors concerned in the production of the human voice and language are shown externally by the mouth, lips, nose, frontal sinus, cheeks, throat, chest, and abdomen. Internally the organs of speech are the diaphragm, the lungs, the larynx, the pharynx, the tongue, the soft palate or roof of the mouth, the nostrils, the frontal sinus, the walls of the cheeks, the teeth, and lips.

The voice is related to the ear, and this feature indicates, by its shape, size, and quality, the capacity of the voice, and also reveals the personal capacities of each individual in regard to his ability for speaking or singing. A full description of the ear will be given later in this chapter.

Further analysis of the active voice is had in the analysis of the faculties of "Music" and "Language" in the preceding chapter.

Knowledge of human character is derived mainly from three sources. The most important sources from whence we derive this knowledge are the face, the hand, and the voice; these three parts of the organism epitomize the entire personality, each in a different manner and in varying grades. The hand tells of some things which the face does not; it also corroborates what is seen in the countenance. The voice gives us a clue to character which the secretive individual thinks he hides.

The intensity of emotion is best expressed by the voice; the power of action by the hand. The capacity for thought is shown by the face, but principally in the outlines of the nose and forehead. Thus, each of these features must be examined in order to render a just delineation of character. There are other aids to the comprehension of character not so directly decisive as those above named, yet very useful as corroborative of other indications. Among these may be mentioned the movement in walking, the