An examination of the physiognomies of the most celebrated inventors, discoverers, architects, and mechanics will disclose the lower third of the nose well developed and the sign for Sublimity most decided. How can it be otherwise, when we know that minds of the highest order only are capable of comprehending and applying the grand principles revealed in Nature's laws? For this reason I claim that the greatest minds of the age, those most conducive to a high civilization, are the inventors, mechanics, and scientists. They rank higher than artists, musicians, sculptors, painters, poets, and actors in usefulness, in breadth of intellect, in integrity, and in the knowledge of God's immutable and eternal laws. Their characters must be based on Conscientiousness in order to be in harmony with the truths of Nature, for one with small Conscientiousness cannot enter into the spirit of the truths of Nature to the extent that one can who has large Conscientiousness added to large mechanical abilities. Let the reader scan the physiognomies of the following-named persons and he will observe an excellent development of the sign for Sublimity, varying in size according to the several systems of functions in combination. The local facial sign for Sublimity may be found in the portraits of Sir Christopher Wren, architect; Sebastian Vauban, French civil engineer; Benjamin Franklin, mechanical discoverer; Leonard Euler, astronomer; also the Herschels, father and son, astronomers; James Watt, inventor; Richard Arkwright, inventor; Dr. Edward Jenner, discoverer; James P. Joule, chemical discoverer; Thomas Alva Edison, electrician; Dr. Louis Pasteur, discoverer; James B. Eadds, architect; C. H. McCormick, inventor; John A. Roebling, civil engineer; Elias Howe, inventor of the sewing-machine; Dr. William Harvey, discoverer of the circulation of the blood; Prof. S. F. B. Morse, inventor and discoverer. I might mention scores of others whose portraits denote the presence of the faculty of Sublimity, all of which serves to show that this trait assists the useful and practical purposes of life, and is one distinguishing feature of developed minds and bodies.

IDEALITY.

Definition.-Imagination, taste, love, and appreciation of the beautiful in art and Nature; sense of propriety, neatness, and refinement; love of perfection; capacity for improvement in æsthetic tastes; desire for finish, completeness, and thoroughness.

Its excess makes one fastidious, punctilious, squeamish, hypercritical, over-nice,-more nice than wise, and causes loathing, disgust, and disdain for the low and vulgar; gives a love for the

unreal, creates an excess of imagination and gushing sentiment, and imparts a dislike for the realities of life.

Its deficiency is shown by boorishness, lowness, vulgarity, coarseness of language and manners, lack of taste and imagination, and slight appreciation of the beauties of art and Nature. Those greatly deficient are wanting in polish and refinement, and are unsuited to the study of the fine arts. They also take a commonplace or utilitarian view of everything, and some are characterized by an angularity of appearance, awkwardness of manner, and eccentricity of conduct.

Facial and Bodily Signs.-The most reliable and decisive facial sign for Ideality is indicated by width of the tip of the nose. This sign is relative. Where the quality of the subject is fine and the mental system predominant, the nose does not present as great width as when the muscular system is dominant, for fineness of the brain and nerve system is always accompanied by relatively less size of the facial signs, particularly of the nasal signs. Other and secondary signs are known by a straight outline of the nose; fineness of the texture of the skin; finely-arched, long, narrow, and even eyebrows; large, bright, clear eyes; graceful walk; elegant and appropriate gestures; clear and sweet intonations of the voice; fine, natural manners; æsthetic taste in dress, furniture, adornments, and surroundings; ideal, poetic, and imaginative language; neatness and good taste in domestic or other matters, and love of poetry, flowers, paintings, statuary, etc.

DESCRIPTION OF IDEALITY.-The physiological basis of Ideality is found (as are all the faculties the signs of which are situated about the tip of the nose) to be in the general development of the quality of the brain and nerve system; hence, it is the distinguishing characteristic of those persons and races that have attained by evolution to a certain degree of fineness and keenness of sensation, which puts them en rapport with the finer aspects of the works of Nature and of Nature's imitations in art.

The sign for Ideality has scarcely a rudimentary appearance in the noses of undeveloped races, and many persons in civilized races manifest very little sense of the ideal, the imaginative, and tasteful. Reference to the noses of such will show either a sharp, gimlet-like form at the tip, or, if the end of the nose be flat, blunt, and broad, as with the negro, the inherited quality will be seen at a glance to be of a low order; the skin and hair will be coarse, and the voice, language, manners, walk, and gestures will corroborate the face in its indications. We are now dealing with traits of quality, and a progressed evolution always raises the nose high above the plane of the face; therefore, wherever the sign for

Ideality is found large the nose will not only be broad at the tip, but it will be relatively high. No feature of the face so marks the presence of mentality of the finer sort as a nose developed in its lower third. Particularly is this shown by height and width, together with that peculiar configuration which shows that the signs for Mental Imitation, Analysis, Hope, Sublimity, and Constructiveness are large. Some ideal noses present a square-cut appearance, while others that have Sublimity large in combination exhibit a

Born in England. Conspicuous facial sign, Ideality, shown by the width of the tip of the nose. The law of the straight line and curve governs this countenance.

rounded appearance at the sides of the tip. This is more particularly the form of the tip of the noses of those artists whose sublime works of art, invention, and discovery have immortalized them. The reader is referred to the portraits of the masterminds in all these fields of labor.

A secondary base of Ideality is to be found in that peculiar, fine quality of the muscular system which gives fineness, flexibility, and sensitiveness to its motions, and also that

The oval chin, dramatic jaw, and straight outline of the degree of flexibility of

nose announce artistic power of a high order. The domestic traits are well represented. The Love of Home, Patriotism, Benevolence, Amativeness, Love of Young, Approbativeness, Modesty, and Friendship are all parent. The nose reveals the signs of the artistic mind; here are grouped in large measure Ideality, Mental Imitation, Analysis, Hope, Constructiveness, Acquisitiveness, Veneration, and Self-will, all conspicuous. Prescience, Observation, Form, Size, Color, Locality, Language, Music, Calculation, Memory of Events, and Intuition are large, and together form a most beautiful, artistic face. Miss Neilson was as beautiful as a poet's dream, and whoever has witnessed her incomparable

joints as well as of muscles which allows a free and easy movement of all parts, and which has the muscular sense so developed as to aid the automatic motions

impersonation of Juliet" will remember it as "a thing which the musician, painter,

of beauty and a joy forever."

singer, dancer, linguist, actor, elocutionist, orator, and inventor must have to carry forward their work. In each of these classes the muscles must be so responsive as to become spontaneously automatic, and respond intuitively and involuntarily, as it were (after a certain number of repetitions), to the sensations which call them forth.

Another secondary base is found in the high development of the sexual instinct, which in its refined state creates love of the beautiful of the opposite sex and a desire to reproduce it physically,

or mentally, by pen, brush, or chisel, as in poetry, paintings, or statuary, or to enact beautiful ideal characters upon the stage. The fundamental desire of Ideality is reproduction or duplication of ideal types or images of beautiful men, women, birds, beasts, or characters. In this way Ideality is very closely related to the constructive, creative powers of the sexual system.

Ideality, like all other human faculties, is adapted to the recognition and enjoyment of the beautiful here in this world, and by imagination the mind

is able to roam to other spheres and sing in tones of sweetest melody of the glories and splendors of the life hereafter. In fact, this faculty is adapted to perfection, and who can doubt that ultimate perfection is the aim of a progressive evolution? The teachings of science point to this, and show us by myriad lessons that this is the destiny of the human mind and body; for both rise or fall together, as I have shown in these pages, and as all the sciences which treat of human existence prove, if rightly interpreted. The aim and office of Ideality

FIG. 73.-MR. H. RIDER HAGGARD. (NOVELIST.)

Born in England. Conspicuous facial sign, Ideality, shown by width of the tip of the nose. The law of the straight line and curve governs this face. The basis of this gentleman's talent, the vegetative system, is well developed. Conscience, Firmness, Love of Home, of Country, and of Young are marked. So, also, are Benevolence, Economy, Alimentiveness, Modesty, Approbativeness, Friendship, Self-esteem, Hospitality, Pneumativeness, and Color are manifest. In the nose the signs for Ideality, Sublimity, Mental Imitation, Analysis, and Construction are large. Acquisition, Veneration, Executiveness, Reason, and Self-will are most apparent; while Form, Size, Observation, Locality,

is to refine and exalt all the Calculation, Time, Order, Memory of Events, and Lan

faculties in combination, hence it is a faculty of high quality. Ideality can be best expressed by those who are keenly sensitive

guage are conspicuous. Prescience is noticeable, and a good degree of Intuition. It is the presence of so large a development of the faculties of Prescience, Credenciveness, and Ideality that gives to this author's writings their peculiarly weird and strange character. Language is most fluent, and, combined with the faculties of Form, Size, and Locality in excess, gives the writer power to visualize the singular beings which he portrays by his pen.

and able by virtue of their sensations to receive and reproduce by voice, pen, pencil, brush, and chisel the impressions derived from Nature and character. All great poets depend upon the power of this trait, assisted by Language and Constructiveness, to enable them to write the songs which arouse the heart of a nation to patriotic endeavor; to raise the mind to loftier aspirations for a higher life; to create the most ecstatic enjoyment of the beautiful scenes of Nature which the poet paints with his pen when he brings up

before our mental vision the loveliness of glen and grove, the grandeur of the lofty mountain, the beauty of the star-decked sky, the sweet serenity of the moonlit vale, or the solemn hush of the early dawn when the "lark at Heaven's gate sings." All these the poet, who is touched with true Parnassian fire, spreads before those who are responsive, and with such vividness and reality as to bring these scenes out before their enchanted gaze in boldest relief. Those who are capable of appreciating these ideal beauties are lost in admiration of the skill and genius which, by a few strokes of the pen, can impart that supernal enjoyment which is derived from the works of Tennyson, Bryant, Whittier, Milton, Wordsworth, Shelley, and other great poet-painters.

Combe very correctly expresses the true use and function of Ideality when he writes:

It is a faculty purely of enjoyment,-one whose sole use is to refine and exalt and extend the range of our other powers; to confer on us higher susceptibilities of improvement and a keener relish for all that is great and glorious in the universe.*

Ideality, like all the higher traits, is not confined to nobles or kings, but finds its home in the peasant's cot and humble dwelling as well. It tells not only that its possessor is refined, but shows that some of his ancestors belonged to the "nobility," for traits of quality are not formed in a generation; and so one not only announces his own character by what he says and does, but at the same time discloses the prominent tastes of his ancestors, near or remote, for like produces like, and our deeds do follow us to even the tenth generation and beyond.

Great diversities of degree of this faculty are exhibited by different nations. It is not so large in the English as in the French, nor so general; the dress and manners of the two races prove this. It is more universally characteristic of the Americans than of the English, for education, money, and opportunities for travel are more accessible to the masses of the former country, and these are all potent factors in the culture of æsthetics. Then, too, the great admixture of high races in America gives more flexible muscles, and these lead to and assist adaptability to new conditions, while the strong bones combined with the sturdy, unyielding muscles of the English tell directly against that flexibility so essential to ideal improvement. It is these staunch elements which make the English so enduring, hardy, loyal, overbearing, and immovable, and produce the set, rigid, brusque, rude manner and conversation which Emerson so aptly portrays in his "English Traits." These quali

* Combe's Lectures on Phrenology, p. 219.