must have had these light brown eyes.

Eyes which show no lines when in sorrow or laughter denote a passionless and unimpressionable nature. Eyes of a long almond shape, with thick-skinned eyelids which appear to cover half the pupil, are indicative of genius; if in conjunction the forehead is that which shows idealism, and has one deep perpendicular line between the eyebrows, which is indicative of originality of mind and which is generally to be seen in the forehead of distinguished writers and artists. It is very remarkable in all the portraits of Michael Angelo. The almond-shaped eye, however, even without this peculiar form of forehead, always means a susceptible, impressionable nature. Eyes which are large, open and very transparent and which sparkle with a rapid motion under well-defined eyelids, denote elegance in tastes, a somewhat susceptible temper and great interest in the opposite sex.

Eyes with weakly-marked eyebrows above them and with thinly-growing eyelashes which are completely without any upward curve, denote a feeble constitution and a melancholy disposition. These eyelashes are often seen in people who combine the lymphatic and melancholic temperaments—that is, in persons born under the combined influence of the two melancholy planets, Saturn and the Moon. The eyes of these people are either of a pale, colourless sort of blue, or of a dull black without any sparkle in them.

Want of eyelash, like want of eyebrows, shows a general want of force, both of body and intellect.

Strong, dark and short eyelashes show force of character and a strong and obstinate will.

Eyes with sharply-defined angles, sinking at the corners, show subtlety of mind; the sharper the angle and the more it sinks, the greater the delicacy of perception it denotes; but when very much developed it shows also craftiness amounting to deceit. Well-opened eyes with smooth eyelids and a steady and somewhat fixed glance denote sincerity. Lines running along the eyelid from side to side and passing out upon the temples denote habitual laughter—a cheerful temperament, or, at any rate, one in which the sense of humour is strong.

We sometimes see (but it is rare) persons whose eyes are of different colours. For instance, one eye will be of a bluish-grey, whilst the other will be so flecked with orange or tawny yellow spots as to appear what might be called a brown eye. This peculiarity of having eyes of different colours is sometimes to be seen in dogs, and very often in cats of the Persian breed, or white cats, but it is very rare in human beings. An old Italian writer says that people having eyes of different colours are likely to become mad. Having, during the whole course of my life, only known two persons having this peculiarity, I do not feel qualified to pass an opinion as regards this indication. One of these persons certainly was mad on several points; and, when it is added that the other is the writer of this book, many of its readers may be inclined to think that the mediæval physiognomist's theory might very possibly be correct.

CHAPTER XXIX.

THE NOSE

We often see fine eyes in an otherwise ugly face, but rarely is a thoroughly beautiful nose found in a face which could be called ugly, for the nose is the keynote of the face, and in it lies the chief characteristic of the countenance. Beautiful eyes and beautiful lips have, it is true, more charm—it is the expression of the eyes and lips of those we love which we most remember in absence—but it is the nose which, more than any other feature, most affects the general character of the face. This will be seen if we try the experiment of drawing the head and face of any beautiful statue—say the Venus of Milo, for instance—and, while giving it all its fair proportions of brow and cheek and chin, we substitute a small turn-up nose, or, worse still, a flat or snub nose, for the noble yet softly gracious line of the nose in this most perfect head and how much we should lower the noble type of beauty this Venus presents! Of course no one in real life could be unattractive with such a brow and beautifully shaped eyes, to say nothing of the perfect lips and softly rounded lines of the chin; but the nobility of the face would be entirely lost by this alteration of the lines of the nose; whilst we might alter the beautiful lines of the eyes, narrow the brow, and even take from the softly voluptuous contour of lips and chin, yet by leaving untouched the perfect form of the nose we should still retain the dignity of expression which is so characteristic of this statue.

A nose to be perfect should equal the length of the forehead; it may, when the forehead is exceptionally low, be even longer than the forehead (and in most of the beautiful antique statues it is so), but on no account should it be shorter than the brow. Viewed in front, the nose should be somewhat broader at its root—that is, where it starts from the brow—than below. The end of it should be neither hard nor fleshy, but it should be well defined, though neither very pointed nor very broad, for all extremes of forms in any of the features are bad. Viewed in profile, the distance from the line of the wing of the nose to its tip should only be one-third of the length of the nose. Thus, those noses which stand very much out from the face as they near the end of the nose, whilst they are low on the bridge and between the eyes, are out of proportion. Those having such noses are vivacious, but wanting in dignity and force of character. They are impressionable, inquisitive and inconstant.

The nostrils (from the different forms of which many indications are given) should be pointed above and rounded below. The sides of the nose at its root between the eyes should close well with the line of the eyebone (as one sees them invariably do in the antique statues), and should be at least half an inch in width. Perhaps a better rule of proportion—as regards the whole face—is that the width of the nose between the eyes should be exactly the length of the eye.

Noses which are arched from their starting-point between the eyes show capability of command, energy and force of character. It will be remembered that the Duke of Wellington—the Iron Duke—had this sort of nose. Of course, this form in excess (as it certainly was in his case), without the characteristics of self-control and other good points in the face, would not have the same indication. A very prominent nose, like the beak of a parrot, with a narrow brow and retreating chin, would give stupid obstinacy; but, in an otherwise good physiognomy, a prominent nose gives force, command and productive energy.

It cannot, however, be denied that one sometimes comes upon noses which are rather small in proportion to the rest of the face and which are so devoid of arch as to be almost concave in their line when seen in profile, in persons of fairly good understanding; but such noses belong rather to those who appreciate, than to those who produce, works of literature and art. The people having these noses, provided the brows show some intellectuality, will be found to enjoy the beautiful influences of works of the imagination, but they themselves possess little or no creative power.

Straight noses give indications between these two extremes; they may belong to persons of the creative, or simply appreciative, order of mind. The form of the head and brow and the line of the eyebrows would determine to which class they especially belong. Arched noses with broad backs denote force of character. Swift and Napoleon Bonaparte had noses of this type. This sort of nose, with an arch starting from the root, is seen in almost all the busts of the Roman emperors; it is, in fact, frequently called the "Roman nose," and is very typical of the race which was for so many ages dominant in Europe; whilst the beautiful straight nose (which we are accustomed to call Grecian, because it is seen in almost all the antique statues) is quite as indicative of the perception of beauty in art and literature and of the subtlety of mind which distinguished the Greeks. The creative force in the antique straight nose is given by its proportion to the rest of the face, for it is always larger in proportion to the brow, cheeks and jaws than the strongly-arched broad-bridged nose which we call Roman, and thus it is indicative of quite as much productive force as the arched Roman nose, with infinitely more delicacy of perception; a small straight nose shorter than the forehead and set in a large round face, shows timidity and foolishness and is the nose of an unintelligent person.

High noses that are not broad-backed are often seen in the faces of men of letters, but a high thin-backed nose, which seems to start up in a sharp ridge when seen in profile, is more indicative of penetration and acuteness than force of mind. These noses have generally fine, sharp tips, with a downward curve; this is an indication of wit. Voltaire and Sterne had such noses; they are generally seen in combination with thin and flexible lips and a somewhat pointed chin. A nose which is bent downwards is also indicative of sadness of disposition, for it is one of the signatures of the melancholy planet Saturn; but wit may exist (in fact generally does so) with a somewhat sad temperament. Voltaire's wit is almost always cynical, and cynicism grows out of a want of hope, a want of belief in one's fellow-creatures; whilst in Sterne (the writer of the inimitable though now little-read work, Tristram Shandy) there is always, even in his brightest sallies, an under-current of pathetic sadness. People with this sort of nose are sarcastic, somewhat hypochondriacal and very often reserved and morose. If, with this form of nose, the nostrils are narrow and almost closed and the wings of the nose pinched, the indications are still more those given by the melancholy planet Saturn; the more elastic and freely moving the nostril with this form of nose, the more bright and the less sardonic the wit. A person with a broad Roman nose, having this violent downward curve over the mouth, is one to be avoided, for this combination denotes a secretly voluptuous temperament—a man or woman of strong passions hidden beneath a cold and reserved manner. Broad-backed fleshy noses, round and full at the tips, with intellectually good brows, show a genial temperament and a sense of humour. Without the good indications of the brow they would only show love of good cheer and a certain good-humoured carelessness.

Snub-noses—that is, noses short in proportion to the brow and with round fleshy tips—are indicative of commonplace, somewhat coarse natures, especially if the nostrils are round and the bridge of the nose very low between the eyes.

What is called a turned-up nose shows vivacity of temperament, jealousy, talkativeness, impudence (growing out of a certain amount of self-esteem) and petulance.

There is a sort of delicately turned-up nose which we often see in pretty women, and which, though it shows wilfulness and coquetry—things not uncommon in pretty women, since the song tells us—

is significant of delicate perceptions and a certain intuitive cleverness which is thoroughly feminine and, therefore, very attractive to men. These noses—which are especially the noses of charming women—are well raised at the root; in fact, have all the delicacy of line of a straight nose, except that the extreme tip has an upward curve. It must have been of one of these delicate and thoroughly feminine noses that Tennyson must have been thinking when he describes one of his heroines as having a nose—

"Tip-tilted like a flower."

Flexible nostrils, which quiver under excitement, show an ardent, poetic, and sensitive temperament.

Very open and flexible nostrils show ardour in love and if seen in conjunction with large, full and slowly-moving eyes and a full under lip, indicate a voluptuous and passionate nature.

Closed nostrils show melancholy, timidity and absence of hopefulness—a person who habitually sees everybody and everything en noir.

Round nostrils show animal instincts and a somewhat low type of individuality; they are generally seen in snub-noses, which of themselves give the same indication.

Noses which have on both sides many wrinkles, which become visible on the slightest motion and never entirely disappear, even in a state of complete rest, show cunning and sarcasm.

When the line (which, after extreme youth, is always more or less seen from the nose to the mouth) is very strongly marked, and descends at a great distance from the corners of the mouth to the chin, it evidences an anxious and melancholic nature.

CHAPTER XXX.

THE MOUTH, TEETH, JAW AND CHIN

A mouth to be beautiful should be in harmony as regards proportion with the rest of the features of the face; that is, it should be neither remarkably large nor remarkably small. Neither the upper nor the lower lip should project beyond the other when the mouth is closed. The lips should shut easily over the teeth, and in doing so should fall into a flowing line of curves without compression. The more the lips are endowed with motion and the more richly they are coloured, the finer and more delicate are the human passions they indicate.

An excess of even good form is bad; thus if the full rich lines of a generous mouth are exaggerated, we have the indication of sensuality, whilst the finer susceptibilities shown by delicately moulded lips may, by a little excess towards thinness, give fastidiousness and even avarice.

The middle-sized mouth, which combines strength with warmth of feeling, whilst it steers clear of coarseness, is what gives the best indications. Such a mouth shows courage, generosity, and affection.

A mild, somewhat overhanging upper lip generally signifies goodness, or rather kindliness of disposition; but if very much overhung it shows weakness of purpose and an irresolute, vacillating character and, where the under lip is small as well as retreating and the chin also small, it is an indication of imbecility.

A mouth in which the lower lip projects shows prudence amounting to distrust and melancholy. We often see this form of mouth with the down-drooping nose; both are indications of the dominating influence of Saturn at the birth of the person possessing such a combination of features. If the under lip should be very full as well as projecting and droops in a flaccid manner without closing over the teeth when the lips are in repose, it is a sign of a sensual nature. Of course an intellectual brow and a firm and energetic form of nose would lessen the evil of such an indication, but there is always a tendency towards the grosser pleasures of the senses in a person with such a form of lips.

A mouth with lips habitually apart denotes eloquence, if the rest of the face gives intellectual indications; but if none of the signs of mental power are there, it would only signify a chattering person wanting in decision and promptness of action.

A firmly closed mouth shows courage, fortitude and determination; even an habitually open mouth will be seen to close with a sort of forced compression when endurance is necessary. Everyone closes the mouth after saying, "I am resolved."

A somewhat long mouth, with an upward curve at the corners and with thin and very flexible lips, indicates wit. Voltaire had this sort of mouth.

Full, flexible lips, with a hollow in the centre of the lower lip, and with the corners turning upwards, show a joyous, hospitable and rather materialistic temperament, with good spirits and sense of humour.

A mouth with full lips, but in which one side of the lower lip is larger and fuller than the other, was said by the old writers to denote ardour in love and general sensuousness. It is one of the signatures of Venus.

A wart just above the upper lip shows a coarse and cruel nature; a mole in the same place, love of the opposite sex.

Of course, the shape and placing of the teeth are not without significance in the character given by the mouth. When the upper gum shows above the teeth directly the lips are open, it is a sign of a selfish and phlegmatic nature.

Short, small teeth are held by the old physiognomists to denote weakness and short life, whilst rather long teeth, if evenly set in the head, denote long life.

The more the teeth, in point of size, shape and arrangement, approach to those of the carnivorous animals, the more violent are the animal instincts in the person; whilst the more the human teeth in shape and position approach to those of the graminivorous animals, the more placid is the character.

White, medium-sized and evenly-set teeth, which are seen as soon as the mouth is open, but which are never exposed—that is, which do not at any time show the gums—are a sign of good and honest natures.

Projecting teeth show rapacity; small, retreating teeth, such as are rarely seen unless in laughter, show weakness and want of physical and moral courage. The lower teeth projecting and closing over the upper range are indicative of a harsh nature.

In most faces the mouth or the nose is the more prominent. Where the nose is the dominant feature, energy, command and force of willpower, combined (unless the mouth and eyes show great kindness) with selfishness, show themselves in the character. Where the mouth, jaw and chin are more prominent, the appetites and passions are strong.

Broad jaws, with a broad forehead, mean both force of intellect and force of animal passion. Byron had this combination of brow and jaw; but the lips, which were full and flexible and with upward-curving corners, redeemed the sensuality given by the jaws, and the intellectual qualities shown by the form of the brow were in excess of the indications of voluptuousness given by the lower part of the face.

A person who has the jaw much broader than the brow and head has strong passions and a weak intellect—the very worst possible combination.

When the jaws are massive and yet the head and brow are more so, we have a powerful character, who can exert all his intellectual powers on one subject—one who has the very valuable faculty of concentration.

Where the jaws are much narrower than the head, we have a character where the sensual instincts are feeble, and where intellect is of a subtle and refined order. Wit is shown by this form of face, especially if the nose is delicately outlined, the tip pointed and somewhat drooping over the mouth.

When the lips retreat on each side of the mouth and open into an oval form, it denotes a subtle intelligence, tact and refinement of nature.

A sharp indentation immediately above the chin, between it and the lower lip, shows good understanding.

A pointed chin is a sign of craftiness, wisdom, discretion and intuitive perception.

A soft, fat, double chin shows epicurism and love of sensual pleasures of all sorts; it also indicates an indolent temperament. We never see such chins in persons of an energetic, restless nature. Charles James Fox, who was excessively indolent, had this chin even in youth.

A flat chin shows avarice and a cold, hard nature; a small chin indicates weakness, want of will-power and cowardice.

A retreating chin is a sign of silliness and, if the brow is shallow, of imbecility.

Where the space between the nose and the red part of the lip is short and very sharply cut, it indicates refinement and delicacy of perception, but not much power—no force of intellect; where this space is unusually short, it denotes silliness and weakness of purpose. A rather long but not flat upper lip, especially where the serpentine line of the middle of the mouth is much defined and the middle of the lip droops to the lower lip and is very flexible, denotes an eloquent person. We see this form of upper lip in the bust of Demosthenes, the greatest of Grecian orators; in Cicero, whose eloquence was unsurpassed in his age; in Fox, whose powers of oratory were great; in the demagogue Wilkes, in Edmund Burke, in Lord Palmerston and numerous other orators.

A very long upper lip, which is flat and which belongs to a straight and formless or too thick-lipped mouth, is a sign of a low and vicious type of character. Almost all the faces of great criminals have this defect, combined with massive jaws and high cheek-bones, which last defect is, both Lavater and Perneti (a great French writer on the subject of physiognomy) tell us, a sign of rapacity and egotism.

A round chin, with a dimple in it, denotes kindliness and benevolence, a tender and unselfish nature. In a very massive double chin the dimple increases the quality of love of sensual pleasures. A square and massive chin shows strong perseverance and determined will.

An old Italian writer says that "women with brown, hairy moles on the chin, especially if these excrescences are on the under part of the chin, are industrious, active and are good housewives"; they are also, he says, "very sanguine and given to love follies. They talk much and whilst they are easily excited to return a love which is offered them, they are not so readily prevailed upon to become indifferent. For this reason," he goes on, evidently speaking feelingly and probably therefore with personal experience of the matter, "they should be treated with circumspect, calm friendship and kept at a distance by a mildly cold dignity of demeanour." He gives no directions as to how this effective "demeanour" is to be arrived at, but at once passes on to another remark on the subject of moles, and tells us that "a mole upon the upper lip, especially if it is bristly, will be found in no person who is not defective in something essential." This is rather a wide way of putting the matter. Are people with this blemish morally, mentally, or physically deficient? Wanting in kissableness such a mouth might be and this, perhaps, where lips are concerned, is "something essential."

CHAPTER XXXI.

THE HAIR AND THE EARS

Black hair which is perfectly without any wave or curl and which lies in lank, lifeless masses, shows a melancholic disposition; a black beard which grows sparsely gives the same indication.

Black hair which is wavy or curling and very thick, shows force of affection and a certain ardour in love matters; so also does a thick and crisp-textured black beard and moustache.

The lank, thin and uncurling black hair is one of the signatures of Saturn alone; the crisp, curling and thickly-growing black hair is the combination of Venus and Saturn. The united influence of these two planets on a life gives force of character, for the warmth and impulse given by Venus is tempered by the distrust of Saturn into prudence; thus people with the crisp dark hair get the ardour, combined with prudence, which produces success in life.

Chestnut hair of a soft and silky texture and not very thick, gives romance of character. This is not the sort of hair which is ever seen on very commonplace, realistic persons. Men having this soft chestnut-coloured hair are somewhat effeminate in their tastes and are wanting in energy and decision. Both men and women having it are incapable of strong affection: they are attracted by the opposite sex, but they are more given to having a series of small interests than one strong love. If this hair is found in combination with the golden coloured eyes it is indicative of coquetry in the nature; if with pale blue-grey eyes we have languor and caprice—a sentimental and inconsistent person.

Bright golden hair of a rich deep colour and of a crisp and waving texture growing thickly on the head and somewhat low on the brow, shows an ardent, poetic and artistic temperament. It is the signature of the Sun. Such people are generally fond of music, painting, or poetry. Both men and women having this sort of hair are intuitive in their judgments; they do not reason about things, they feel them; they are a little quick of temper, that is, easily ruffled, but they are quickly appeased; they are gay and interest themselves in art, even if they are not artists themselves.

Persons with red hair are ardent and vivacious, especially if, with it, they have hazel eyes, in which case they have a bright and quick intelligence, for reddish hair and bright brown eyes are the signature of Mercury. They have a great deal of natural facility for study and good memories, but they are selfish and rather cruel.

Red hair, with blue eyes, shows the same warmth of character, but not so much intelligence, and if, with blue eyes and red hair, the eyebrows and eyelashes are white—as is often the case—it is an indication of a weak and capricious nature.

People with red-brown hair, which is very thick and redder over the ears and at the temples and on the beard than on the head, are courageous and hot-tempered. This coloured hair is the signature of the fiery planet Mars, and (unless the other indications in the face are widely different) shows activity and energy in all things. It augments the indications of force and power given by other features and in art gives sense of colour in painters—force of language and eloquence in poets—and power in musical composition.

Hair of that colourless, fair colour which French writers call blond cendré, or ash-coloured, denotes persons of an indolent and dreamy temperament. It is the indication given by the dominant influence of the Moon at birth. Persons with this sort of hair, in combination with large blue-grey eyes, with fair, long, but straight eyelashes and very slightly-defined eyebrows of the same blonde colour and white, soft skin, are capricious, languid, imaginative and somewhat melancholic. The imaginative and excessively indolent Théophile Gautier, the French novelist, was of this type in combination with Venus, giving a sensuousness amounting to sensuality.

Women having this sort of colouring of skin and hair are romantic and devoted in a resigned, but not active spirit—that is, they are more generous in words than deeds, for they are incapable of exertion and still less of perseverance.

Persons with soft, wavy brown hair are affectionate, gentle and loving. Their first instincts are always good and kind. They like society and are gracious in manners and, though they are not quite as indolent as those having the soft ash-coloured hair—indicative of the Moon's influence—they are still lovers of repose and elegant comfort.

People with this soft brown hair (which is one of the signatures of the planet Venus) are very open to the impressions of beauty and they abhor noise, discords and quarrels; men with this sort of hair, like those with pale golden hair, are somewhat effeminate and are easily moved to tears.

Large, fleshy ears (especially those which have the lobes of the ears red) show coarseness of nature and sensuality.

If the ears stand forward so as to show their entire form when the face is seen from the front, it denotes rapacity and cruelty.

Long-shaped but small ears indicate refinement; a very small ear, close to the head, shows delicacy of perception, refinement, but also timidity.

The ears should be so placed as not to be higher than the eyebrow, or lower than the tip of the nose; if set in too sloping a direction they show timidity; if too upright, animal instincts, courage, amounting to cruelty, especially if they obtrude from the head.

A thin ear shows delicacy and poetry of feeling; a thick ear the reverse.

Middle-sized ears, rather close to the head, are the signature of Jupiter; large ears of Saturn; delicate, long-shaped ears of the Sun and also of Mercury, only those bearing the signature of Mercury are more coloured, whilst those of the Sun are pale.

Very upright ears, standing forward, are the signature of Mars; small, round ears, delicately tinted pink and close to the head, show the influence of Venus; whilst middle-sized round ears, of a very pale colour, are indicative of persons born under the influence of the Moon.

CHAPTER XXXII.

THE SIGNATURES OF THE PLANETS ON THE FACE

Those born under Jupiter have fresh complexions, and large blue or grey eyes, with thick and well-formed eyelids; and their eyelashes are long; their hair—which is chestnut, or, if tending towards black, is a brown, not blue, black—and is crisp or curly. They generally have well-marked and somewhat arched eyebrows, and their noses straight, with a slight rise on them, and somewhat fleshy; their mouths are large, but with generous, curved and full lips, the upper lip projecting over the lower one; their teeth are large, and the two in front are generally longer than the rest; their cheeks are fleshy and firm; the cheek-bones are well defined, without being prominent; the chin is large, with a dimple in the centre of it; their ears are of medium size and lie somewhat close to the head. The men born under Jupiter have thick curly brown beards, but they get bald early in life.

Those born under the dominant influence of the melancholy planet Saturn have no colour in their cheeks and their skin is dark and of a yellow or leaden tint. It is seldom that anyone is born under the sole influence of one planet; the ugliness of the Saturnian type is much mitigated by the influence of Jupiter, and the union of Venus and Saturn often produces positive beauty of a serious and melancholic sort. Many of the strikingly beautiful Spanish faces show the combined influence of these two planets.

Those born under the dominant influence of the Sun have regular features and a soft skin of a yellowish tint, but with colour in the cheeks and lips. Their hair is of a red-gold tint; and their eyebrows are well defined, but not dark. Their eyes are of a golden brown or greenish grey, and are brilliant and well shaped; the eyelashes and eyebrows are a little darker than the hair, but not dark, and are traced in a long sweeping line extending to the temples. Their cheeks are well covered, without being plump; their jaws are a long oval and neither the cheek-bones nor the jaws are at all prominent. Their teeth are even, but of rather yellowish white; their mouths are neither large nor small, but well formed, with the lips meeting evenly, that is, neither the upper nor the lower lip projecting. Their ears are medium-sized, rather long in shape, lying close to the head and the lobes of them are fleshy and slightly coloured of a pinkish hue. The chin is rather prominent, round and well shaped, like those of the antique statues, but not fleshy. Those born under the influence of the Sun have frequently weak sight, especially if their birth has taken place during an eclipse.

Those born under the influence of Mercury have long faces and delicate, mobile features. Their skin is fine, soft and honey-coloured, but changes in tint with every passing emotion, for those born under Mercury are of a nervous, vividly intuitive and highly excitable temperament. Their hair is of a reddish, not golden, brown (what is called auburn), very fine and supple. Their foreheads are high and prominent and their eyebrows, which are long and delicately traced, lie very low over the eyes and are very mobile, moving up and down with every emotion. The eyes of those born under this planet are somewhat sunken, of a hazel or dark grey colour; they move quickly and have a restless expression; the white of the eye is (like that of those born under Saturn) of a yellowish tint and the lids of the eyes are thin and do not droop at all over the eyes. Their noses are straight and long, with delicate nostrils; the tip of the nose is round rather than pointed and frequently has a small cleft or dimple, which is, however, only faintly perceptible in certain lights, at the extreme tip. They have delicate mouths which droop a little at the corners and the lips are thin, mobile and often a little apart; the upper lip is thicker and more projecting than the lower lip; the teeth are small and even. The chin is long, pointed and a little projecting at the lip. The head is oval in shape and full at the temples.

Those born under the planet Mars have short, square-shaped, but small heads, with high foreheads on which the hair grows far back, leaving the forehead much exposed. Their faces are round, sometimes square at the lower part and their skin is hard and dry and of a red colour, especially about the ears, which are long-shaped, set straight rather high on the head and slightly projecting from it. Their eyebrows are short, sometimes stopping midway over the eyes, very bushy and lying close to the eyes. Between the eyebrows are several short upright wrinkles. The hair is of a red or sandy colour, coarse and very curly. The beards of men born under Mars are thick, short and of the same fiery colour as the hair. Their eyes are grey or red-brown and are large, round, very wide open and have a fierce and fixed glance; the white of the eye in those born under this fiery planet is often bloodshot. Their mouths are large, but the upper lip is thin and compressed; the lower lip is somewhat thicker than the upper lip. Their noses are short and aquiline, with dilated nostrils. Their chins are projecting and somewhat massive, for the jaw is strongly developed; the cheeks are somewhat hollow, and the cheek-bones very marked.

Those born under the influence of the Moon have round-shaped heads, broad at the temples (showing ideality—the Moon gives imagination). The forehead is full over the eyebrows, but retreats at the top; it is broad and low. The complexion is pale, almost colourless and the skin is soft. Their hair is fine, soft, of a colourless fairness, no golden tint in it and it is never very thick. The faces of those born under the dominant influence of the Moon are large and round; the nose is (in proportion to the face) small and short and its tip is round rather than pointed. Their eyes are of the same colour as the hair, very lightly marked, but joining over the nose. Their mouths are small; but their lips, which are of a pale colour, are full and pouting and are rarely quite closed. Their teeth are large and often irregular. Their chins are round, fleshy and retreating. Their ears are also round, medium size, pale coloured, set in a very sloping direction and lying close to the head. If born during an eclipse of the Moon, those born under this influence are sometimes blind.

People born under the influence of Venus have a great resemblance to those born under Jupiter, only their beauty is more feminine. They have the white and delicately-tinted skin of the Jupiterians, but it is still softer, finer and more transparent. They have round faces, the cheek-bones and the jaw-bones are not at all apparent; their cheeks are softly rounded and generally ornamented with dimples; their foreheads are a delicate oval, rather low and have delicate azure veins at the temples. The eyebrows of persons born under the influence of this beautiful planet are dark and beautifully marked in long sweeping but very delicate lines, but not meeting over the nose. Their hair is long, thick, soft, undulating and of a light brown colour. Their noses, which are broad at the root between the eyes, are straight and delicate, not at all pointed, but rather rounded at the tip;[20] the nostrils are round, but dilated and very flexible. Their eyes are large, clear, humid and somewhat projecting; the pupils are large in proportion to the white of the eye, which is limpid and of a clear, transparent, bluish white; their eyelids are well formed and blue veined. Their mouths are small and of a beautiful red colour; the lips are full, especially the lower one, the right side of which is slightly larger than the left. This is a particular Signature of Venus, as is also a small dimple near the corner of the mouth. The teeth are white, small, evenly set in coral-tinted gums and the chin is soft and round and has, like the chin of Jupiterians, a dimple in it.

Although the signs just described are those given by each planet, as it rarely happens that anyone is born under the influence of one planet only, but generally of two or more, it is rarely that we see a face which gives the pure type of any one planet without admixture. It is for the physiognomist to examine and ascertain which is the dominant planet.

The union of Saturn and Jupiter gives a pale skin without freshness, chestnut hair and eyes and a rather dark skin, the face a round oval and dark grey eyes.

The union of Venus with the Sun gives brilliant beauty, a beautiful complexion, hair of a golden brown or rich chestnut, full, bright brown eyes with long eyelashes, a delicately-formed nose and a beautiful mouth. People born under this junction have much charm of manner, but they are not very constant; for, although they have much tenderness, they are of the ardent artistic nature, which, from its very susceptibility, cannot be expected to be as constant as those who are less impressionable; they are people of quick rather than deep feelings; they love readily, but as readily forget.

"Women born under the double influence of Venus and the Sun," says an old Italian writer on the subject, are "loving, lovely and beloved."

CHAPTER XXXIII.

CONCERNING THE MOLES ON THE FACE AND THEIR REFERENCE TO THOSE ON THE BODY

All moles are the result of the influences of the planets, or of the sign of the zodiac rising at birth. The moles which are given by Saturn are black; those by Jupiter are of a purple-brown colour; those by the Sun, yellow; by Venus, light brown; Mercury, honey-coloured; by the Moon, of a bluish white.

A mole on the right side of the forehead, just beneath or on the line of Saturn (see plate) indicates another on the right side of the breast. This mole shows to a man, if yellow, that he will have good fortune in sowing, tilling the earth, or building; if red, he will have luck all through his life, by his courage and force of character; if black, his condition will be changeable; if the mole is purple, he will be advanced to be the head of his family. In a woman a mole in this position shows fortune by inheritance or legacies; but if black in colour she will not live long.

A mole on the left side of the forehead on the Line of Saturn indicates another on the left side of the back and shows to a man imprisonment and disaster; if honey-coloured, his trouble comes from women; if red, from quarrels with enemies; if black, he will be unfortunate all his life. To a woman it foretells that she will live out of her own country and if black she will be a widow.

A mole in the middle of the forehead on the Line of Saturn shows another in the middle of the stomach and foretells to a man, if it should be black, that he will suffer much ill-fortune for the sake of women; if red, he will get some pleasure out of his troubles with them; and if yellow, he will rejoice through women; if of a pale bluish colour and raised, he will be much beloved of women. To a woman, of whatever colour it may appear, it indicates that she is of a very luxurious nature and will suffer from her own folly as regards men.

A mole on the right side of the forehead on the Line of Jupiter shows another on the right side over the liver and indicates, to a man, good fortune in marriage, long life and large possessions; but if black, he will not be quite so lucky as regards marriage. To a woman it shows, whatever its colour, good fortune in all that concerns her.

A mole on the left side of the forehead on the Line of Jupiter shows another on the left side of the stomach and indicates, to a man, love of material enjoyments, especially if it be of a purple colour; if honey-coloured, he is not so sensual. To a woman such a mole shows her to be imprudent and quite regardless of her own honour.

A mole in the middle of the Line of Jupiter shows another in the middle of the breast and indicates that a man is of a harsh nature; if red, he is furious in temper; if black, he is singularly unfortunate in all his undertakings; but if raised and of a bluish colour, he is less unlucky. To a woman it indicates that she is foolish, prattling and idle.

A mole on the right side of the Line of Mars shows another on the right arm and indicates, if red, military distinction; if honey-coloured, good fortune with horses and other cattle; if black, danger from four-footed beasts; if much raised and somewhat red, it shows good fortune in all things relating to fire. To a woman this mole shows a rich husband, full of kindness and complacency.

A mole on the left side of the Line of Mars indicates another on the left arm, and shows a man to be of a quarrelsome nature; if black, he is treacherous and loses much by four-footed beasts and by horse-racing; if purple or yellow, he is involved in quarrels about women. Such a mole, whatever its colour, shows a woman to be very unfortunate in her love affairs, and likely to be betrayed by her female friends.

A mole in the middle of the Line of Mars indicates another on the left side of the belly; if red, the man is likely to be guilty of manslaughter and if any other colour he is sensual. To a woman this mole shows vanity and, if black, she is likely to be the cause of the death of some friend, but more by mischance than by design.

A mole on the right side of the forehead on the Line of the Sun indicates another on the right breast and intimates, to a man, of whatever colour but black, riches and honours; if black, his good fortune will not be so great and will come, not from his own merits, but from the exertions of friends. To a woman it shows an affluence of the goods of fortune; but if black she will have to be very subservient to her husband.

A mole near the right ear shows another on the right side of the belly, not low down and signifies, to a man, a blow on the head, some accident to that ear, whereby he may lose his hearing; if black, these evils are the more to be apprehended. To a woman it shows the loss of those things she most values.

A mole on the left ear shows another on the left side, low down on the belly. This mole indicates to a man persecution from enemies. If it be of a red colour, that he will go near to committing murder by reason of women; if black, or even honey-coloured, it is still of evil indication and shows quarrels and violent death. To a woman, let it be of whatsoever colour, it shows that she will be the cause of death to someone; let her, therefore, shun to meddle with poison.

A mole on the right cheek shows another on the right hip and indicates, to a man, that he will have great charm of manner towards women, and be much beloved by them; this, whatever its colour. To a woman also it shows happy marriage and that she will be vehemently beloved.

A mole on the left cheek shows another on the left hip and indicates, to a man, a wandering existence and short life; if black, he dies by violence. To a woman it threatens sharp and hard fortune, especially in love matters.

A mole on the right side or corner of the mouth shows another at the right side of the lower part of the spine and shows, to a man, that he shall much increase his wealth by reason of his own sagacity; but if honey-coloured, his good fortune will come by women. To a woman such a mole shows she will abound in wealth and be vehemently beloved; if black in colour, with all these advantages, she will yet suffer from the scandal of envious women friends.

A mole on the left side of the mouth indicates another on the left side of the base of the spine and shows, to a man, that he will be entangled with a woman he cannot marry, and have illegitimate children. To a woman it shows a likelihood of the same disgrace.

A mole in the middle of the upper lip shows another on the lowest part of the body and indicates, to a man, that he will be miserable from various perils, but above all from women. To a woman this mole shows sickness and weakness from internal diseases.

A mole beneath the middle of the under lip shows another on the knee and indicates, to a man, that he will undertake long and perilous journeys, by reason of which he shall see many strange countries; if honey-coloured, he will gain wealth from strangers and marry a rich, foreign wife. Such a mole shows a woman to be thoughtless and likely to marry a foreigner and live much out of her own country.

A mole upon the middle of the chin shows another upon the right foot and indicates, to a man, that he shall have good fortune through women. To a woman happy marriage, but worry for her children.

A mole on the right side of the chin shows another on the right haunch and indicates, to the man, that he will be of great intellectual capacity; if black, he will be a searcher in occult matters. In a woman it shows good fortune, happy marriage and long life, whatsoever may be its colour.

A mole on the left side of the chin shows another on the left haunch and indicates, to a man, inconstant fortune, much worry of mind and bodily discomfort. In a woman it shows ill-health and, if of a pale bluish colour, danger by water.