At social functions, such as garden and evening parties, fairs, &c., there are few people whose notice and attentions are so solicited as the palmist’s. He speedily finds himself the central figure of a knot of people of both sexes, all eager to thrust their hands under his discerning eye, and compare their own estimation of their character—which, alas! is often subject to a severe shock—with that revealed by the sage’s comparison of lines, mounts, and stars engraved upon the palm.

The true palmist is no flatterer, nor is he over-hasty in judgment.

Most hands index as many contradictions and complexities of disposition as the human face, and the experienced reader of these hieroglyphics finds that, to secure a just diagnosis of the subject’s character, comparison of the many signs and minute calculations are necessary. The art of addition, subtraction, and multiplication is the fundamental principle of his profession.

Shape, quality, proportion, and texture are of paramount importance, and these should be examined before the lines are studied. The size of the fingers, and the manner in which they are set on the hand, furnish the key to the character of the hand examined. Each finger has its name and sign, and each has its distinguishing characteristics. For just as every leaf and petal possesses some minute difference that distinguishes it from its neighbor, so no hands in the world are exactly alike in form and structure.

The name given to the first finger is Jupiter; to the second, Saturn; to the third, Apollo; to the fourth, Mercury; and to the thumb, Pollux. Fig. 1 shows some signs with their respective names.

The natural bend of the fingers is important, and the palmist should be quick to notice its natural attitude before examining the interior of the hand.

Some fingers are distinguished by their independent, prominent position over the rest. When the tips are inclined to curl to the palm, a plodding, determined nature is indicated, one that does not easily relinquish a set aim or purpose because of obstacles.

A wide space between Jupiter and Saturn shows unconventionality, and originality of thought and outlook.

When the Jupiter finger is upright and straight, and of normal length, a just, candid nature is revealed. Should its position be in advance of the other fingers, the love of dominion. Falling slightly behind: dependency on others, a shirking of taking the initiative and responsibilities. Short: ingratitude, no enthusiasm. Pointed: tact, comprehension, and sympathy. (Fig. 2.) Square: integrity, unkindly frank in expressing opinions.

The generous and broad phalanges of Saturn show gravity, depth of character, and sense of proportion. A short Saturn: imprudence, inclination to act on impulse, somewhat foolhardy. Spatulate: energy. Square: cool, clear-headed, thought before action, absence of hasty judgments. (Fig. 3.)

Apollo: well-developed, artistic tendencies. Forward: painting, drawing, or sculpture. Pointed: the artistic ability is greater than the practical. Spatulate: a sense of the beautiful in form and color, dramatic powers. (Fig. 4.)

Mercury, set lower than the other fingers, reveals the fact that many adverse circumstances have been battled with. Pointed: tact, discrimination, intuition. Square: love of scientific pursuits, good reasoning powers.

Beneath each finger rest their respective mounts. There are two mounts of Mars—that immediately at the base of the Jupiter mount, and that situated beneath Mercury mount. The mount of Luna is directly opposite to that of Venus, which is found where the thumb joins the wrist. (Fig. 5.)

In many hands it will be observed that the position of the mounts varies. Jupiter may swell over the boundary line, and squeeze Saturn into close proximity with Apollo, which, in its turn, may take the place allotted to Mercury. These signs are important.

Jupiter’s approach to Saturn shows timidity and self-consciousness.

Saturn’s approach to Apollo shows that the creation of art and literature is tinged with melancholy.

Apollo’s approach to Mercury shows humanity, charity, and a peaceable disposition.

Mercury’s approach to Mars: self-reliance and resource in danger.

Mars’ approach to Mercury: originality, defiance, and ability to hold one’s own against opposition.

Luna inclining towards the wrist: reveries, some frivolity and love of pleasure.

A glance will reveal which bumps are most developed in the hand, and these, taken together, are valuable keys to character.

Jupiter and Mercury are worldly, versatile traits.

Jupiter and Apollo are honest, noble traits.

Jupiter and Venus are somewhat selfish, vain traits.

Saturn and Mercury are signs that, unless among gay companions, the individual has no power of resource.

These mounts are generally prominent in the hands of those who depend entirely upon others for their amusement, and have developed no powers by which to create a world of their own. They are shallow, discontented persons as a rule, unable to concentrate their minds on books or music.

Saturn and Mars: a thrifty temperament, verging on the avaricious.

Saturn and Luna: hypersensitiveness, distrust of self. A nature which is distressed, and rendered almost morbid by the sadder side of life, art, and literature.

Apollo and Luna: extreme imaginative force.

Apollo and Mars: in a creative hand show an inclination to depict the strong things of life, a certain amount of realism in portrayals. A love of danger and adventure.

Mercury and Mars: a superabundant amount of fun and good spirits.

Mercury and Venus: a gay, somewhat heartless, temperament.

Mercury and Luna make a humorist.

Venus and Apollo: a charitable, generous individual.

The Phalanges

Each finger has three divisions, known as the phalanges, and these are supposed to represent three worlds.

The first, which includes the nail, stands for the spiritual.

The second stands for the intellectual.

The third stands for the material.

Correct comparison of these phalanges provides the orbit of thoughts and ambitions in which the mind of the individual revolves, and when one of these predominates in length over the others, that quality for which it stands is the principal quality possessed, although a further study of the hand may contradict these attributes, or render them more excessive.

For this reason the student is warned not to form his judgment by one indication only. He can arrive at no reliable solution to the riddle of character until he has studied every portion of the hand and linked together the various peculiarities it expresses.

The thumb is, as it were, the figurehead of the hand. There is more character to be discerned in its form, habitual attitude, phalanges, and the space between it and the first finger, than in any other signs conveyed by the physical formation of the rest. The first phalange indexes strength or weakness of will power, constancy or fickleness, affection or coldness of disposition. The second phalange shows by what degree of reason the will is guided. Should it be much thinner towards the base than at the apex, a certain degree of narrow-minded, one-sided views is indicated.

The third phalange represents emotions. The two angles stand for music, and are strongly marked upon the thumb of the musician and composer. The first indicates time, the second harmony.

When the length of the third phalange preponderates over the first and second, a passionate character, uncurbed by the power of will, discipline of reason, and self-control is shown.

In a well-balanced, warm-hearted nature, these phalanges are in proportion. Extreme length in the first phalange shows a tyrannical and dogmatic will, which will surely prove a stumbling-block through life, unless the thumb of the right hand modifies this natural obstinacy.

The palmist should beware of, as it were, labeling the hand. He cannot be too cautious in reaching an ultimate conclusion. The hand possesses a range of complexities. Strength and weakness are mingled. Great talents may be mitigated by signs of almost equal inefficiency. Therefore all the links of circumstances and character depicted should be consolidated into a chain before the exponent ventures to voice his convictions.

The left hand indicates natural tendencies; the right shows how far the good and bad propensities of the individual have been developed. It is possible that the former may represent an intellectual type which the latter does not verify. For instance, a clear and unbroken head line in the left hand may be marred and broken in the right, thus showing that ability in this direction has been neglected; or it may be that an inefficient head line in the left palm continues clear and deep on the right; and the conclusion arrived at is, of course, that, by dogged will and perseverance, inherent incompetency has gradually been remedied.

Upon the palm six important lines are inscribed, as shown in Fig. 6:—

The life line, which forms a semicircle at the base of the thumb.

The head line, which traverses the palm, and forms an angle with the life line.

The heart line, which runs above and parallel with the head line.

The fate line, which runs horizontally from Mount Saturn to the wrist.

The Apollo or fortune line, which runs parallel with the fate line from Mount Apollo to Mount Luna.

The line of health, which forms an angle with the base of the life line, and reaches almost to Mount Mercury.

The ring of Saturn, reaching from Mount Apollo to Mount Jupiter.

The line of intuition, curving from Mount Mercury to Mount Luna.

Upon the depth, direction, and length of these lines the vitality, health, affections, future, finances, general tendencies of disposition and circumstances of the subject may be arrived at.

The manifestation of stars and islands, dots, grilles, and chains are indications of misfortune, obstacles, ill-health, and domestic unhappiness. Triangles, squares, clear-cut crosses, when not formed on or by the lines of the hands, and circles on the mounts, are fortunate.

Signs—and Wonders!

The age of the subject is arrived at in the following manner. Divide the fate line, call the point of division 30. The age of 10 is slightly above the base of Luna. From 10 to 50 the line should be partitioned into equal parts; after that, however, the distances lessen.

The life line may also be used to calculate age, but here the method of calculation is reversed, for childhood is above the thumb, and old age is indicated by the length of the curve to the wrist.

Doubtless the most interesting marks to be found among the minor lines of the hand, such as indicate voyages, change of environment, talents and ambitions, are those which concern the attachments, love affairs, and future marriage of the subject.

These are the influence lines, which may be discerned running from Mount Luna to the line of Fate, from Mount Venus to the line of Life, and on the Mount of Mercury. Their depth, length, and clearness depend upon the enduring nature of the sentiment involved. When crossed, barred, or cut, they demonstrate the fact that difficulties and opposition from parents, friends, or relatives are to be encountered, or it may be that the influence was merely a fleeting infatuation, what is commonly known as “calf-love,” which time and deeper development of the character have annihilated.

These signs should be compared with the age calculated upon the fate line—it will then be discovered whether the influence lines are of the past, present, or future; only constant practice and experience can aid the exponent to a correct estimate of the period of these happenings.

It may happen that the hand of a man or woman under thirty years of age shows no indication of any of these influences, but this does not mean that love and matrimony will never happen to them, for these lines are sometimes late in appearance and may be found years after.

An island situated on an influence line is extremely unfortunate, for it means either that marriage will be rendered impossible by the ill-health of the subject, or that the man to whom she is engaged is fickle or worthless in character. Likewise, it is unfortunate for Mercury’s influence lines to terminate on the heart line, for this foretells bereavement and widowhood. Should it cross the heart line and run towards Venus, a separation is almost certain to culminate the alliance.

Nearly all the lines traversing Mount Luna are attachments or influences connected with the opposite sex. When they rise from the life line, they may stand for close friends or relatives of the same sex.

Another important group of lines may be discerned at the base of the palm. The subject should rest the elbow on the table, with the hand bent over the wrist, which is marked with “rascettes” or bracelets. When these lines curve up towards the palm, they signify that the ideals, thoughts, and impulses governing the character are noble and uplifting; when they droop to the wrist, mercenary ambitions and self-interest are dominant. When the rascettes are creased by other lines, a life of strenuous work is shown. When deep, smooth, and continuous—health, wealth, and happiness.

In drawing-room palmistry, the palmist is often embarrassed and kept from concentration of thought by the buzzing chatter and laughter of friends and acquaintances, all of whom are eager to have their hands read, and the majority of whom expect that a lightning glance is sufficient to reveal every detail of their character and future.

Palms are thrust under his notice by smiling, optimistic young people, each of whom believes implicitly that for her or him the future is a land of honey and roses—a straight sunny path, wherein there are no piercing thorns and sole-bruising flints.

Guileless and Good

We all hold ourselves very dear; flaws in our natures, however serious and detrimental to character, seem trifles light as air. We appear to ourselves—especially when we are young—to be very good and guileless. We are assured that all follies will be conquered, repented of, left far behind us in the land of oblivion, long before old age catches us in the hip and thigh. And the palmist will often find that those who clamor most loudly for frank and impartial revelations are just those who are wounded by a single word that jars their self-esteem or questions the high price set upon their individual qualities.

For this reason he must go gently, speaking without flattery or undue censure, and upon such occasions he would do well to keep his mind from diving beneath the surface of the trivial pleasant prophecies expected of him. He should never wound the susceptibilities of some nervous, high-strung soul by prophesying ill-health, bereavement, or death.

The more serious side of the science can be dealt with only when the exponent and subject are secure from prying eyes and listening ears, and even then the palmist should be the very embodiment of tact, sympathy, and discretion.

Should the subject really desire the probings of some past secret misfortune, the palmist may voice his interpretation of the history written in his hand, but, in a manner of humane and tender kindness, making much of the lighter side, and endeavoring to encourage and help by faith in a happier future.

To blurt out some past tragedy or foretell one before others is a wanton cruelty of which the palmist should never be guilty. He should always endeavor to put himself in the place of the subject, and even when the latter is, as often happens to be the case, incredulous of his powers and eager to show his ignorance, the palmist should not allow himself to be stung to retort by revealing a jealously-guarded secret.

The physician, the clergyman, the lawyer are the recipients of pathetic and strange confidences; the palmist will also discover many, and must ever hold them as inviolably.

He must be a gentleman in the highest sense of the word—honorable, chivalrous, humane; and, whenever the opportunity occurs, strong to encourage the weak and console and comfort the men and women, both young and old, whose hands reveal their heart-break, weariness, and sense of failure.