Physiognomy is not entirely a delusion. There is no "science" of Physiognomy, however, nor is it an exact art. The rules laid down by Adamantius were quite different from those of Aristotle, just as those of Baptist Porta and Robert Fludd were quite different from Levater's. Physiognomy is the art of knowing the humor, temperament or disposition of a person from observation of the lines of the face, and from the character of its members or features. While there is as yet no code of rules laid down by any author which constitutes a trustworthy guide, there in an apparent analogy between the mind and the countenance, which is discernible to keen observers. Probably every man and woman prides him or herself on the ability of translating expression, because we all imagine that we are good judges of human nature; yet, we have all erred in this regard, and often they were costly errors. Our instincts and intuitions, are perhaps the safest guides, after all, for there is but little reliance to be placed on the text books; and the common beliefs regarding the meaning of the features are anything but reliable. The best that can be done, for the present, is to assemble the predominating characteristics of the great men of history and compare these with their portraits.

It is generally conceded that the greatest authority on Physiognomy is Levater; yet, in my copy of his principal work, which, by the way, is the voluminous 15th London edition, he says: "I understand but little of physiognomy, and have been, and continue daily to be, mistaken in my judgment." Since no greater physiognomist ever lived, it seems fair to assume that there is no "science" of physiognomy, and no infallible system with which we can read the character and capabilities of a person by means of the features. Whether such a science will yet be discovered or devised, remains to be seen. However, it is possible, and even probable, that the features all have meanings, even if we do not know those meanings, and that the code finally adopted by Levater is fairly correct. This being true, the best we can say for Physiognomy is that it helps us to interpret character by showing us tendencies. That is, given a face the chin of which denotes firmness, and the mouth tenacity, we may be reasonably certain that the individual will have a strong tendency to do thus and so under certain conditions, provided those characteristics are not over-balanced and offset by other characteristics. That the tendency is not conclusive, is apparent: for the person may be born with a nose which, according to Physiognomy, denotes criminal propensities; yet, he may have overcome his immoral tendencies by means of education, religion or environment, while his nose remains unchanged. Again, he may have certain features which are said to denote generosity, for example, yet there may be various other features which denote love of power, acquisitiveness, vanity, etc., which would make it quite impossible to say that generosity would predominate, and to which tendency the subject would yield. Indeed, it is a grave question if all the accumulated knowledge of the ages on Physiognomy would not be misleading, even if every person knew the precise meaning of every section of the face; for, however skilful we might be, our judgment would constantly be taxed to the utmost to weigh and balance, to compare and distinguish, one indication with another, and then that other with still another, and with perhaps a whole group of others,—a task for a mathematician, psychologist and philosopher combined. Again, who may say that a large nose, which was esteemed so highly by Napoleon, or a strong jaw, which is generally understood to denote perseverance, may not be mere accidents of nature, for are not some born tongue-tied, cross-eyed or flat-footed, without design, meaning or tendency, so far as those physical conditions are concerned? And do not all persons develop one or more faculties, and neglect others, without causing any change in the bones of the face? One may conquer and conquer, like Alexander, until there are no more worlds to be conquered, and yet not acquire a conqueror's nose. If we treat Physiognomy as the science of interpreting expression by means of the muscular anatomy of the face, that is a different matter; but the real Physiognomy deals with bones as well as with muscles. If there is doubt as to whether the shape of the bones of the face are indicative of character, there is no doubt that the flesh and muscles of the face form what we call expression of the countenance, and that this can be interpreted with some degree of accuracy.

Levater says that the forehead is the image or mirror of the understanding; the nose and cheeks the image of moral and sensitive life; and the mouth and chin the image of the animal life; while the eye will be to the whole as the summary and center. I am prepared to believe without hesitation that nothing passes in the soul which does not produce some change in the body, and that even desire, and the act of willing, create a corresponding motion in the body; but it requires extraordinary credulity to believe that bones are enlarged or diminished by this process, and, consequently, that part of Physiognomy I must reject. But it is quite certain that, on the countenance discernibly appear light and gloom, joy and anxiety, stupidity, ignorance, and vice, and that, on this waxen tablet are deeply scribed every combination of sense and soul. On the forehead, all the Graces revel, or all the Cyclops thunder! Nature has left it bare, that, by it, the countenance may be enlightened or darkened. At its lowest extremities, thought appears to be changed into action. The mind here collects the powers of resistance. Here resides the cornua addita pauperi. Here headlong obstinacy and wise perseverance take up their fixed abode. Beneath the forehead are its expressive confines, the eyebrows; a rainbow of promise, when benignant; and the bent bow of discord, when enraged; alike descriptive, in each case, of interior feeling. The nose imparts solidity and unity to the whole countenance,—the mountain that shelters the fair vales beneath. How descriptive of the mind and character are its various parts; the insertion, the ridge, the cartilege, and the nostrils, through which life is inhaled. The eyes, considered only as tangible objects, are by their form, the windows of the soul, the fountains of light and life. The eye-bone, whether gradually sunken, or boldly prominent, is also worthy of attention; as likewise are the temples, whether hollow or smooth. That region of the face which includes the eyebrows, eye, and nose, also include the chief signs of soul; that its of will, or mind, in action. The occult, the noble, the sublime, sense of hearing, has nature placed sideways, and half concealed. On the inferior part of the face, nature has bestowed a mask for the male, and not without reason, for here are displayed those marks of sensuality, which ought to be hidden. All know how much the upper lip betokens the sensations of taste, desire, appetite, and the enjoyments of love; how much it is curved by pride and anger, drawn thin by cunning, smoothed by benevolence, made flaccid by effeminacy; how love and desire, sighs and kisses, cling to it, by indescribable traits. The under lip is little more than its supporter, the rosy cushion on which the crown of majesty reposes. If the parts of any two bodies can be pronounced to be exactly adapted to each other, such are the lips of man, when the mouth is closed. Words are the pictures of the mind. We judge of the host by the portal. He holds the flaggon of truth, of love and endearing friendship. The chin is formed by the under lip, and the termination of the jaw-bones, and it denotes sensuality in man, according as it is more or less flexible, smooth, or clear: it discovers what his rank is among his fellows. The chin forms the oval of the countenance; and when, as in the antique statues of the Greeks, it is neither pointed nor indented, but smooth, and gradually diminishes, it is then the keystone of the superstructure. With apologies to Herder for much of the foregoing, thus endeth this brief dissertation on Physiognomy.