e 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, Caesar 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 Caesar, 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 X