The World's Greatest Books [Volumes 1-15, 17-20]

Wide open eyes, with the white visible, I have often observed both in the timid and phlegmatic, and in the courageous and rash.

Meeting eyebrows were supposed to be the mark of craft, but I do not believe them to have this significance. Angular, strong, interrupted eyebrows denote fire and productive activity. The nearer the eyebrows to the eyes, the more earnest, deep, and firm the character. Eyebrows remote from each other denote warm, open, quick sensations. White eyebrows signify weakness; and dark brown, firmness. The motion of the eyebrows contains numerous expressions, especially of ignoble passions.

The Nose. I have generally considered the nose the foundation or abutment of the brain, for upon this the whole power of the arch of the forehead rests. A beautiful nose will never be found accompanying an ugly countenance. An ugly person may have fine eyes, but not a handsome nose.

I have never seen a nose with a broad back, whether arched or rectilinear, that did not belong to an extraordinary man. Such a nose was possessed by Swift, Cæsar Borgia, Titian, etc. Small nostrils are usually an indubitable sign of unenterprising timidity. The open, breathing nostril is as certain a token of sensibility.

The Mouth and Lips. The contents of the mind are communicated to the mouth. How full of character is the mouth! As are the lips, so is the character. Firm lips, firm character; weak lips, weak character. Well-defined, large, and proportionate lips, the middle line of which is equally serpentine on both sides, and easy to be drawn, are never seen in a bad, mean, common, false, vicious countenance. A lipless mouth, resembling a single line, denotes coldness, industry, a love of order, precision, house-wifery, and, if it be drawn upwards at the two ends, affectation, pretension, vanity, malice. Very fleshy lips have always to contend with sensuality and indolence. Calm lips, well closed, without constraint, and well delineated, certainly betoken consideration, discretion, and firmness. Openness of mouth speaks complaint, and closeness, endurance.

The Chin. From numerous experiments, I am convinced that the projecting chin ever denotes something positive, and the retreating something negative. The presence or absence of strength in man is often signified by the chin.

I have never seen sharp indentings in the middle of the chin save in men of cool understanding, unless when something evidently contradictory appeared in the countenance. The soft, fat, double chin generally points out the epicure; and the angular chin is seldom found save in discreet, well-disposed, firm men. Flatness of chin speaks the cold and dry; smallness, fear; and roundness, with a dimple, benevolence.

Skulls. HOW much may the anatomist see in the mere skull of man! How much more the physiognomist! And how much more still the anatomist who is a physiognomist! If shown the bald head of Cæsar, as painted by Rubens or Titian or Michael Angelo, what man would fail to notice the rocky capacity which characterises it, and to realise that more ardour and energy must be expected than from a smooth, round, flat head? How characteristic is the skull of Charles XII.! How different from the skull of his biographer Voltaire! Compare the skull of Judas with the skull of Christ, after Holbein, and I doubt whether anyone would fail to guess which is the skull of the wicked betrayer and which the skull of the innocent betrayed. And who is unacquainted with the statement in Herodotus that it was possible on the field of battle to distinguish the skulls of the effeminate Medes from the skulls of the manly Persians? Each nation, indeed, has its own characteristic skull.