cerning his parents and relatives. His grandfather was a
conservative bourgeois of a superior type, who was the author of
treatises designed to narcotize the forces of rebellion of his time.
What he was like physically, no epitaph declares. His father was a
clergyman. A description of him reads ... "tall and slender, with a
noble and poetic personality, and a peculiar talent for music ...
short-sighted." That ranks him at once as a pituito-centric.
The mother was dark and had a fiery temper and came of a family
distinguished for the powerfully built anatomy of its members. In
the heredity of Nietzsche, the father appears therefore to supply
a pituitary predominating element, the mother an adrenal-pituitary
predominating element.

Nietzsche himself worked strenuously at the intellectual life (after
20, when he probably stopped growing, and the brain tonic action of
the ante-pituitary could manifest itself). Early distinction rewarded
him with a professorship in philology at 24. One of Prussia's wars
of conquest entangled him, and presented him with diphtheria. A
friendship with Richard Wagner marked the turning point of his life,
and the point of departure for his works on the most fundamental
values of human life. Meanwhile, attacks of sick-headache of varying
degrees of severity made him miserable periodically--they came about
every two weeks and lasted two to three days--and left him wretched
and exhausted. At last, at 44, a species of stroke terminated his
sufferings, causing him to lose his speech and memory, and thenceforth
there was progressive deterioration, physical and spiritual, with
repeated attacks.

In the sister's biography there are several good photographs and
reproductions of sculptures of Nietzsche at different ages. An
examination of the frontispiece picture, which shows him in profile
(profile views are the best for physiognomy), as well as of the bust
of Nietzsche by Donndorf, exhibit the most striking traits of the
head. To the student of internal secretions, the most prominent
feature of the face, emphasized by both the camera and the artist,
is the remarkable prominence of the supra-orbital arches, the bony
protuberances from which the eyebrows spring. This is a definite
pituitary character. The eyebrows themselves are luxurious and slope
to meet, the bony development of the face as a whole is sharp and
clean-cut, the skull tends to be long and narrow and the chin is
square. All these point to