eyes, and thus they intensify each other's color and beauty. Some inartistic and unobservant belles very erroneously put artificial color (where Nature has withheld it) high upon the cheek-bones. Now, this is a bungling attempt at imitating Nature's method. Color is rarely found high upon the cheek-bones of young people. It is usually observed in the cheeks of aged people in this situation. Youthful cheeks exhibit their color upon the lowest part of the cheek, and in some subjects it appears below the cheek under the ` lower jaw as well.

Blue-eyed people require both red and white to make their eyes expressive, unless they are very fair indeed, for when this class becomes sallow the eye loses much of its beauty of expression because the difference between the blue eyes and the yellow skin is not sufficiently decided to make a pleasing contrast. Sallowness is the sign of an abnormal state, hence is opposed to beauty, and thus also it becomes a physiognomic sign of a torpid liver or other disorder.

The color of the brows and lashes are effective agents in expression. The thickness or sparseness of the brows and lashes produce differences of expression. As a rule very bushy brows, especially if black or dark, denote a strong constitution, while very thin brows, if very light, indicate delicacy, either of the nervous system or of the general system.

Thus it will be noted that very many factors, in connection with the eye, assist in giving it physiognomic expression and meaning. Should the reader desire to know what constitutes beauty of expres sion I shall refer him to the theory which is found running through this entire system of physiognomy, viz., that the scientific idea of moral, intellectual, or physical power, wherever found,—in whatever feature or part of a feature it is displayed,-discloses true beauty of that feature or portion of a feature which discloses a certain sign of a capacity for morality, intellect, or usefulness of some sort.

The manner in which the eyeballs incline, whether forward or backward of the lower lid, produce most decided diverse physiog nomic meanings, as well as of variety of expression. As a rule, eves that are horizontal in their sockets, and which set back some what under the eye-bones, are normal, while those that bulge out beyond the brows and the plane of the cheek are abnormal. This peculiarity is the sign of a rude and shallow mind, while eyeballs that incline from below backward suggest timidity and organic weakness. Eyes too convex belong to noisy, wordy liars and braggarts. Thus each divergence of the eye from its normal position denotes a departure from the normal type or standard, and thus indicates the moral or immoral grade of the subject.

THE EYELASHES.

The lashes of the eye, like all ciliary appendages, are primarily for purposes of protection, and as all features, however simple, are revelations of character, so the eyelashes are indicative of certain characteristics peculiar to themselves. As a rule, muscular 'people possess the longest and most beautiful lashes; they are also more curved in this class of individuals than in the bony classes, the basic laws of Form here as elsewhere asserting their influence.

The lashes may be (a) long or short, (b) straight or curved, (c) thick or thin, (d) regular or irregular, (e) dark or light. These are the chief peculiarities of these features. Like all external appendages, they serve more than one purpose, consequently they reveal more than one meaning. Their use primarily is protective, and the more perfectly they are adapted to that purpose the more perfect and beautiful they are.

I do not intend in the last sentence to convey to the reader that there is only one form of beauty in this feature; there are many. Adaptation has its forms of beauty, and, although a beautifully curved lash looks well with a large, lustrous, muscular eye, it would not be adapted to a small, receding one; hence, adaptation is a factor of true beauty. Science broadens our conception of everything, and a truly scientific knowledge of the face is bound to enlarge our ideas of beauty, which art (like all infantoid knowledge) has limited to a very narrow compass.

It is among the æsthetic and artistic classes that we find the best-developed lashes, both under and upper; for the projection of the bony brow of these subjects is so slight as to necessitate a compensating development of these features. The eyes of the osseous classes are protected by the projecting bony brow, a protective environment which can easily dispense with long, curved lashes.

Both the upper and lower lashes in all subjects are more or less curved; the upper lashes turn upward or outward, the lower lashes turn downward or outward, and always in such manner as not to entangle each other. Muscular people exhibit the principle of the curve in every part of the body, even in the curving of so minute a portion of the physiognomy as the lower lashes, which, in this class, are more curved than in the osseous or mental subjects.

Long, curved, fine, regular, silken lashes are seen in the countenances only of refined characters possessed of delicacy of feeling and sentiment; many artistic countenances exhibit this form, notably poetic and histrionic faces.

Straight, coarse, thick, and projecting lashes are associated with characters possessed of more bluntness and vigor than refinement, and are found with the osseous system well developed. Thin, scattered, light-colored eyelashes betoken delicacy of physique and in some subjects a consumptive tendency.

If the lashes are sparse as well as brown in color, a degree of constitutional vigor may be present, yet the nervous system may exhibit a good degree of sensitiveness.

Long lashes denote characteristics opposite from those revealed by short lashes; when long, well-curved, close, and fine, a certain degree of shyness and timidity will be exhibited. Shyness and timidity are modified forms of Secretiveness, and very long, curved lashes reveal the fact that their owner is too shy or too timid to be perfectly frank and outspoken. Short, thick lashes denote directness of speech, amounting in some instances to blunt rudeness.

Long, well-curved lashes, if coarse, are accompanied with Secretiveness, for the lashes are used for the purpose of conceal ing the motions of the eyeball, as well as for protecting it, hence they serve to partially hide the varying expressions of the eyes.

Inasmuch as the eyes are the features which most assist the expression of the emotions, so all the appendages, however minute,

reveal minute grades and shades of the emotions; hence a lash a little longer or a little thicker in one than in another discloses a different degree of the faculties of Love and Language, as above indicated, showing that in one subject outspoken bluntness will be exhibited, in another shyness or slyness, or modesty or secretiveness in words and actions. Long, drooping eyelashes are very effective agents in love-making and coquetry, and speak eloquently when they are suddenly raised and reveal a pair of eyes full of mischief or melting tenderness, and speak quite as eloquently when lowered to conceal pathos, sorrow, modesty, or other soft emotion. It is thus seen that nothing in the human physiognomy is too minute to contain or reveal a meaning; this will be better apprehended when we come to the analysis and description of lines and wrinkles in the face and body.

The color of the lashes is usually darker than the color of the hair, although in certain blond types it is much lighter, being

very light-in fact, white, in some subjects. Color of these features has the same signification that it has in all the other features, and as the subject of Color has been so exhaustively treated elsewhere it need not be elaborated here.

Specimens of very beautiful eyelashes may be seen in the portraits of Madame Recamier, and the famous Caton sisters, of Baltimore; Ex-Queen Nathalie, of Servia; Empress Josephine, and the Countess of Blessington.

THE INTERCILIARY SPACE.

There is one portion of the face which is very little understood, and to which very little attention has been paid, yet which

is of great importance as an indicator of character. I allude to the interciliary space, i.e., the area between the upper lid and the eyebrow (Fig. 271).

ARTISTIC INTERCILIARY SPACE.

In artistic faces this presents a space wider than in the mechanical, for the former have a relatively slight projection of the bony superciliary ridges and a considerable arching of the muscular and hairy processes of the brows. It is the absence of forward projection of the bony superciliary arch which produces the wide interciliary space observed in the physiognomies of artists.

SUPERSTITIOUS TYPE.

If this space is excessively widened so as to pass the bounds of normalcy, it is a certain sign of a grossly superstitious mind, incompatible with common sense and sound reason. In a modified degree it is found in the faces of many poets, divines, and painters; the eyebrows are highly arched in these subjects.

Where the interciliary spaces are very slight it will be observed that the eyebrow is very nearly horizontal, or horizontal and angular at the outer extremity.

The presence of the line and angle in this place instantly reveals the class to which the subject belongs. This one line alone

shows him to be an observer, hence one is jus tified in deciding that his mind is more practical than imaginative. In this case the bone will be the dominant tissue, and the brows will be more projecting than in the case of the artistic classes; in them the law of the curve or arch prevails. The shape of the hairy brow determines the upper boundary of the interciliary space, while the curved outline that marks the form of the

eyeball indicates the commencement of this space. Observers are urged to pay great attention to this part of the physiognomy, as promising a prolific field of physiognomic research and signification. The following-named individuals reveal a very wide interciliary space, and are all within the artistic class; observe, for example. the upper part of the face of the following named: Milton and Dante, poets; Pascal and Mirabeau, orators; Sarah Siddons and David Garrick, players; Wickliffe, Swedenborg, and Bossuet, divines; Marie Roze, Eugènie, Pappenheim, and Albani, singers.

The countenance of all persons who show a very decided talent for any form of decorative art presents an interciliary space more or less wide, and this arch, thus exhibited, determines the class to which such individuals belong.