is also deficient in development. It will be discovered that facial features and physical functions advance pari passu, step by step, all along the line of progressive growth. It is precisely the same with the faculties and functions of the human organism. The devel opment or non-development of facial features not only marks the progress of functional or physical growth, but it also discloses the grade of evolution of the mental and moral powers. How essential, then, is it to the student of physiognomy that he should observe with the eye of accuracy all stages of growth, and all diseased and imperfect grades of facial development, in order the more thoroughly to comprehend the several grades of the most mature, healthy, and perfect forms. All imperfections of the human face register and reveal imperfections of some physical function, and consequently disclose moral or mental deficiencies. A thorough comprehension of the knowledge of progressive evolution of the body and face of the human embryo, taken in connection with scientific physiognomy, will point at once to the origin of the defect in the body and its corresponding facial undevelopment. Deficient development of facial features is shown mainly by concavities, while development, power, and perfection are disclosed by convex or full forms; hence, full, rounded cheeks disclose more power and stronger digestion than concave or hollow cheeks. A convex nose, if broad, is indicative of greater mentality and stronger constitution than a concave nose of the same width.

Prominent cheek-bones announce greater strength and constitution than those which are flat. Rounded limbs are relatively stronger than flat ones, and thus by comparison of forms, and by application of the basic laws of Form in all stages of development, one may gain a wonderful amount of accurate physiognomic knowledge.

THE GLOBOSE OR INFANTILE CHEEK.

This form of cheek is observed in infants, vegetative beings, gluttons, and some idiots. The full, globular form is indicative of primitive growths. In infants it is normal, for here it represents the beginnings of development. In vegetative adults, it denotes a relatively immature condition of mind, for, as has been shown, the outline of the body denotes the form or condition of the mind, and primitive forms reveal relatively youthful states.

Many idiots retain the globular form of the lower cheek throughout life, and the other parts of the body harmonize with this facial feature. The arms, legs, and hands of such subjects present a full, puffy appearance, and exhibit a characterless expres sion, and one can readily see that there are no marked character

istics accompanying their limbs and hands. Such a soft, fatty, boneless combination possesses no force, hence the mind is wanting in capacity to express ideas, and the body, of course, having a very weak guiding apparatus, can create nothing.

The walk of this class reveals their immature mental condition. The motions of the body in walking are irregular, and create a rolling or shuffling gait, lacking in precision in stepping and marching, thus indicating absence of the faculties of Time and Order. The arms and hands are relaxed, and "flap" about without any attempt to carry them in a normal or graceful manner.

There are many degrees of feeble-minded persons who exhibit this formation, more or less modified by varying degrees of bone and muscle. The more bone, the more hard sense; the more muscle in combination, the greater the capacity for art-works. The vegetative system large, with a good share of muscle, is often accompanied with musical capacity and a good voice for singing, and, as singing does not require a high grade of mental power, we often observe these two systems dominant in those who excel in this department of music.

THE GLUTTONOUS CHEEK.

Great gluttons and gormands are often characterized by round, full cheeks, which sometimes hang down in soft folds upon

the neck and breast. Representatives of the "Fat Men's Clubs" are good illustrations of the above. Those who eat voraciously without exercising sufficiently are prone to accumulate a large amount of soft, fatty tissue in all parts of the body; most especially does it develop about the mouth, lips, cheeks, and abdomen. Many large eaters work off the surplus fat, and thus maintain equilib

rium of the several systems of functions, but in most cases increase of weight induces a disinclination to exertion, which assists the accumulation of the carbonaceous materials of which fat is composed; and as this accumulation goes on the subject becomes more inactive, more sleepy, and more obtuse mentally; the respiration is labored, the action of the heart and lungs impeded, and the visceral organs clogged by adipose matter, and thus the entire system takes

on an abnormal condition, which often ends in dropsy, hypertrophy of the heart, enlarged liver, or other disorders.

The gluttonous cheek in adults who possess normal mentality differs from the globose form of the idiot or infant.

and compared, they cannot be confounded.

Once seen

Alexander Dumas, the celebrated French novelist, is a good illustration of the gormand, while Daniel Lambert is the highest type of the glutton. The cheeks of Louis XIV of France and George III of England betray their gluttonous appetites.

Many great drunkards develop gluttonous cheeks. In their case they are tinged with a dark-red or purplish hue, with red veins very prominent. Some are more gluttonous in drinking than in eating. This class exhibit very full, round cheeks, which are often of a yellowish-white, waxy or pasty-looking color. In these the facial sign for Bibativeness is most decided.

OVAL OR ARTISTIC CHEEK.

The oval form here, as elsewhere in the face and body, represents the art side of Nature. Those who exhibit a pure oval

shaped face are possessed of æsthetic tastes, and if educated accordingly will excel in some department of art, being better adapted to this than to mechanical pursuits. They are graceful in motion, and in the arrangement of flowers, drapery, clothing, etc., display a great deal of taste, and as far as possible surround themselves with beautiful objects, and seek artistic associations. Those with

this form of cheek possess a taste for belles-lettres, such as poetry and fiction, and with a good brain system in combination will incline to metaphysics and speculative religions. The hands of these classes are handsome, and the bones and joints almost invisible, the finger-joints dimpled and tapering, and the nails oval.

The portraits of Madame Recamièr, Nell Gwynne, Mary Anderson, Patti, Sarah Siddons, Raphael Van Dyck, Landseer, and scores of painters, poets, actors, and artistic writers display the oval form of the cheek. Many oval-faced persons display beautiful dimples in the cheeks.

THE RECTANGULAR OR CONSCIENTIOUS CHEEK.

This form of cheek belongs to the square-boned individual, and denotes the capacity for science or mechanism, and shows the presence of large conscientiousness and firmness; also the ability to comprehend hard, cubical, solid, concrete, common-sense ideas.

FIG. 197. ROGER SHERMAN,

This form of cheek has a subdominance of the oval, if the subject be in good health, for where digestion is perfect it always gives a certain degree of roundness or curvation to the soft tissues of this part of the face. The limbs, hands, and fingers will agree in form with the cheek, and exhibit large, bony joints and a square form the entire length of the fingers, with square tips and nails. The cheeks of Washington, Lincoln, Gladstone, Tyndall, Thomas Jefferson, von Bulow, John C. Calhoun, and Lucretia Mott are of the rectangular form, and their lives and works were "squared" by principles of right and justice.

THE DIMPLED OR BEAUTIFUL CHEEK.

Although the ancient Greek artists in their works ignored the dimple in both chin and cheek, it is highly significant of character wherever found. It is a custom of writers who are ignorant of the high physiognomic value of certain features to deny them any precise or physiognomic value or meaning. To illustrate this I quote the following from the work entitled "Romantic Love and Personal Beauty." Its author, Henry T. Fincke, observes thus:

One of the most essential conditions of beauty in a chin, if we may judge by the descriptions of novelists, is a dimple. Yet it is doubtful whether a dimple can ever be accepted as a special mark of beauty. Temporary dimples (for the production of which there seems to be a special muscle) are interesting as a mode of transient emotional expression.*

* Page 412.