acters they move the brows less frequently and the inner termini mainly. These actions are based on the natural and instinctive movements of these two diverse classes, and imitated by the skillful player in his representations of various characters; he not only imitates the voice, gesture, and movement of the brows, but paints upon his face with his cosmetic pigments the diverse lines, folds, and wrinkles which observation has taught him belong to the several distinct classes of characters.

Those persons who move the eyebrows frequently are to be suspected of a rather feeble grade of intelligence, and possessed of more emotion than thought.

There is one class of individuals who think that an appearance of hauteur is an indication of superior character; it is the class who raise the eyebrows upon meeting a stranger whose posi tion socially they regard as inferior to their own. They are the supercilious beings one often meets in society, and the frequent use which they make of their eyebrows, to show (as they think) their high tone, is an infallible sign of the absence of true worth and nobility, for assumption of superiority is but the substitution for the genuine quality. Nobility of life and conduct are as easily discerned by our associates as are treachery and lowness, and we have only to be what we would wish to have others think we are in order to receive credit for the same; hence excessive movement in raising the eyebrows in this manner has led to the term "supercilious."

Those in whom the bony system is supreme rarely move the eyebrows, and then only to draw the eyebrows down at the centre in order to bring the eye to a focus. Painters raise and lower the inner end and centre of the brow, while actors run the whole gamut of ciliary movements in order to express every variety of

character.

The deceitful and cruel raise the outer extremity of the brows, and show great mobility of this part of these features. Cats, whose brows are oblique, possess the same flexibility of the outer termini of the brows. Elocutionists, however, develop a mar velous degree of power in the superciliary muscles, and study to produce a degree of flexibility of these features which will enable them to produce, in conjunction with the eyelid and upper cheek, nine hundred movements.*

Of the movement of the eyebrows, Lavater remarks:

The motions of the eyebrows contain numerous expressions, especially of ignoble passions-pride, anger, and contempt; the supercilious man (supercilium, an eyebrow) despises and is despicable.

*Delsarte System of Oratory.

THE COLORS OF THE EYEBROW.

Color in the eyebrows denotes precisely what it does when found in the other features of the face. Very black brows, if narrow, long, regular, and arched, announce a nature intense, and, with æsthetic tastes, more imitative than original. Very light colored eyebrows denote characters whose emotions and passions are more superficial than the former, and the intellect generally only ordinary.

While brown eyebrows indicate a medium between these two extremes, fine reddish brows show considerable fervor and ambition, but when they are coarse it is assurance of strong animal passions.

The color of the eyebrows, taken singly, is no indication of intelligence or absence of intelligence. The underlying form gives us the clue to the direction of the faculties; the color of the eyebrow is a secondary indication, not a primary one. Color shows the degree of power, but, as the subject of color has been so fully discussed in former chapters, it is not necessary to elaborate it in this connection.

THE FOREHEAD.

The several forms of the forehead observed in the human face are composed of combinations of the line and curve, the square and angle. To this feature, as to all others, the basic laws of Form apply with the utmost certainty.

There are three general outlines in the profile of the forehead. These are the perpendicular, the projecting, and the receding. In the full face we observe the square and the curved or rounding forms; all other forms are modifications, compounds, or blends of these two primary shapes.

The normal, perpendicular forehead (Fig. 286) is observed most frequently in the artistic classes; among poets, painters, and æsthetic minds generally. It is usually accompanied by a straight nose; and straightness of these two outlines in combination always announce a taste and capacity for art of some sort; other signs in combination will give us the direction of this taste or talent.

The perpendicular forehead assures us of the supremacy of the muscular system, and one attribute of this system is its absence of sensitiveness; that is to say, relative absence. Muscle has not the sensitiveness of the nervous tissue, but when accompanied by a fine quality of nerve and brain it can manifest a considerable degree of mental sensibility, as well as artistic delicacy of touch, sound, etc., and results in artistic plans and methods. Those who

exhibit this form of forehead have never the warmth, fire, enthusiasm, sympathy, and sensibility which distinguishes those with the receding forehead. In the latter the lungs are large, the chest arched, and this peculiarity of bodily structure creates energy and feeling, and gives the force requisite for active sympathy, for executive ability, for warmth and fervor.

The normally-receding forehead (Fig. 287) is one that slopes backward somewhat, yet not too far backward. It is indicative of

energy, balanced reasoning

powers, sympathy, enterprise, practicality, mechanical ability,

Many celebrated orators and actors of the highest rank exhibit this outline in their forehead. Mirabeau and Gambetta, French orators of the most fervid and intense type, present this form of forehead; the portrait of Kemble, the eminent English tragedian, also exhibits a receding forehead.

THE PRACTICAL FOREHEAD.

Among the thousands of the most practical and observing men whose foreheads exhibit an outline more or less sloping than the former, I may mention the late President Garfield, Peter Cooper, Abraham Lincoln, Captain James Cook, Richard Arkwright; William Harvey, M.D., discoverer of the circulation of the blood; the Duke of Wellington, Sir Moses Montifiore, Father Matthew; Liszt, musical composer; John Stuart Mill, David Liv ingstone, Richard Whately, C. H. McCormack, Sir Rowland Hill, and Presidents Washington and Jackson. I have mentioned many instances of this receding outline of forehead for the reason that popular opinion ascribes to this outline limited intelligence, based on no reason whatever, or knowledge of the facts; it is one

of those baseless physiognomical heresies that are current in the community. This form of forehead is characteristic of active, enterprising, pushing, enthusiastic natures in every department of intellect, as the above comprehensive group will show. These are taken from almost every department of mentality, and could be added to far beyond the limits of this section.

THE PROJECTING FOREHEAD.

The third type of forehead-the projecting-(Fig. 289), that is to say, the forehead which projects from below forward, either straight or rounding in its outline, is the forehead the

least favorable to mental or manual activity. It is indicative of dullness, slowness, and impracticality, and where it exceeds a certain degree of forward projection or roundness it is certain assurance of idiocy, either partial or complete.

THE INFANTILE FOREHEAD.

One modification of this forehead is observed to round out from the junction with the nose, and presents the curve observed in all infants (Fig. 290), and in them it is normal at that stage of development. Now, the law of Nature is, that wherever a feature in an adult bears a strong resemblance to an infantile form, it indicates an infantoid or relative undevelopment of that part of the mind of which such feature stands representative. An infantoid mouth denotes absence of great thoughts and the use of small talk. An infantoid nose indicates lack of executive power; an infantoid chin, relative want of conscientiousness and firmness; and thus of all features.

Those whose foreheads bulge at the superior part are great theorizers, dreamers, impractical, and non-mechanical. If the pos sessors of such foreheads exhibit a good quality (which is seldom met with in conjunction with this appearance), they may be able to create some valuable theories, which, when adapted to practical purpose by common-sense minds, prove useful; but rarely is this the case.

THE MECHANICAL FOREHEAD.

Foreheads fullest at the brows denote the highest capacity for mechanism and practical work; foreheads fullest at the upper

part show the greatest power for abstract reasoning, with ability to create and elaborate theories; they possess also great memory of events, etc.,-Humboldt, for example.

FIG. 290.-INFANTILE FOREHEAD. (MINNIE WARREN.)

FIG. 291.-MECHANICAL FOREHEAD. (One Type.)

THE ARTISTIC FOREHEAD.

Foreheads rounding at the sides announce capacity for artistic or original construction of some sort, usually of an artistic or æsthetic nature. Those square at the temple show ability for mechanical, scientific, or practical affairs.

THE SCIENTIFIC AND MECHANICAL FOREHEAD.

To a scientific physiognomist the outline of each forehead, both of the profile and of the sides, reveals the accompanying chest form. If the forehead is receding the lungs and liver are well developed, the thorax high and arched, the nostrils relatively large, and the septum of the nose (sign of the liver) usually well developed downward,