es from the tongue, one can hardly wonder at this
interpretation.

The last group of lines to be noted is that about the eyes and
forehead. These are less reliable than either of the other two, for the
reason that they are so sympathetic as almost invariably to be present
in addition, whenever the lower dial-plates of the face are disturbed.
It is only when they appear alone that they are significant; then they
may be interpreted as one of three things: first, and commonest, eye
strain; second, disease in some part of the nervous system or muscular
system, not connected with the organs of the chest or abdomen; and
third, mental disturbances.

This last relation, of course, makes them in many respects the least
reliable of all the face indices, because--as is household
knowledge--they indicate mental conditions and operations, as well as
bodily. "The wrinkled brow of thought," the "deep lines of perplexity,"
etc., are in the vocabulary of the grammar grades. They are, however, a
valuable check upon the other two groups. They are not apt to be present
in consumption and in other forms of serious disease, attended by fever,
on account of the curious effect produced by the toxins of the disease,
which is often not only stimulating, but even of an exhilarating nature,
or will produce a slight stupor or lethargy, such as is typical of
typhoid.

One of the most singular transformations in the sick-room, especially in
serious disease marked by lethargy or stupor, is that in which the
patient's countenance will appear like a sponged-off slate, so
completely have the lines of worry and of thought been obliterated.

One distinct value of the pain-lines about the eyes and brow is that you
can often test their genuineness. Just engage your hypochondriac or
hysterical patient in lively conversation; or, on the reverse principle,
wound his vanity, so as to produce an outburst of temper, and see how
the lines of undying agony will fade away and be replaced by the curves
of amusement or by the straight-drawn brows of indignation.

As with the painter, next to line comes color. Every one, of course,
knows that a fresh, rosy color is usually associated with health, while
a pale, sallow complexion suggests disease. But our color signals, while
more vivid, are much less reliable and more apt to deceive than our
line-markings.

Surprising as it may sound, careful analyses have shown, first, that the
kind of pigment present in the huma