softer emotions, such as Amativeness, Love of Young, Mirthfulness, Approbativeness, Friendship, Patriotism, and Hospitality. The better endowed he is with these traits, the better able is he to express them in the characters which he attempts to portray.

The color-sense should be a ruling power, for it is from this quality that he derives earnestness and enthusiasm; he needs it as well in costuming and in the facial "make-up" for the stage. Self-esteem should not be large, and it is seldom large in comedians. Force is requisite; also a large share of Secretiveness, to enable

FIG. 353.-JOSEPH JEFFERSON. (COMEDIAN.)

It is a genuine pleasure to a physiognomist to delineate a face so full of talent and power as that of the subject of this sketch. In this individual the brain and nervous system is supreme and of fine quality. The muscular system comes second in the order of development, while the thoracic and osseous are about equal, and the vegetative assists by its powers in sustaining all of the others in combination. The color is well defined in the eyes, hair, and complexion. One scarcely knows which most to admire, the development of the domestic, the social, or the mental powers. The lower jaw is wonderfully curved, thus disclosing dramatic talent. The chin is dimpled,-an accessory art-sign; it is also broad and long, thus revealing Conscientiousness and indicating Firmness. The signs for Love of Home and of Patriotism are manifest. Benevolence in the lower lip and Language in the mouth are noticeable. Amativeness, Love of Young, Mirthfulness, Modesty, and Imitation are conspicuous in the upper lip. In the lower cheeks Approbation, Alimentiveness, Bibativeness, and Hospitality are well defined. Friendship is large and Sanativeness a ruling quality. The nose is a noble feature, and has all the requirements for talent, viz., Quality, Form, and Size. In the tip we find the indications of Ideality, Sublimity, Analysis, Human Nature, Construction, Acquisition, Veneration, Executiveness, and Self-will. The width between the eyes is phenomenal, showing Form and Size to be supreme; the eyes wide, disclosing Language and emotional capacity; the face very wide across the eyes, giving evidence not only of Sanativeness but of Executiveness, force of character, and breadth of mind, which latter is accentuated by the phenomenal width between the eyes. Locality, Weight, and Calculation are manifest, while Time, Order, Music, Memory of Events, Intuition, and Reason are all exceedingly well developed. The endowment of Wit and Mirth is remarkable, and well expressed in Mr. Jefferson's impersonation of his marvelously fine creation of "Rip Van Winkle." I offer to his genius the homage of an appreciative physiognomist.

him to hide his own individuality while personating a character quite foreign to his own. Hope should be well represented in order to give sprightliness and vivacity to his efforts, while Analysis

should be largely developed that he may have the power to comprehend all that goes to make up his impersonations. Mental Imitation and Human Nature are required in order that he may comprehend the motives and characteristics of various sorts of persons, and then be able to imitate their language, dress, manners, and gestures. Ideality or Imagination is necessary, also a certain degree of Sublimity. Constructiveness is also most essential, for upon it the actor must depend for many of his ideas in regard to the plan and scope of a play, as well as to assist him in costuming, etc. A great deal of Self-will must be had in order to hold a character strongly through the long acts of a play, and also to assist the spontaneous outbursts of passion which many plays require. A fair amount of Credenciveness is needed to comprehend and interpret the awful and wonderful aspects of human nature. Form and Size assist in many ways: they aid verbal memory, also the memory of gestures, attitudes, and the draping and arrangement of the costume, the hair, etc. Locality is a prime necessity; Weight, also, to assist in the pitch of the voice and the force of the intonations and expression.

Language, most copious, is a talent of high importance to the player. Music and Time must be had, while Artistic Judgment and Intuition must be well developed to enable him to "divine ” and express the fullness and entirety of those diverse characters which he is called upon to impersonate.

This analysis shows how many talents are requisite to the mental and bodily make-up of a first-class comedian or comedienne. Many comedians exhibit talents of a high order outside of the dramatic profession, as in the several arts, literature, sculpture, and even in science. Joseph Jefferson, whose portrait is herewith given, possesses literary ability of a high order. Henry Edwards, another noted comedian, has achieved success as a naturalist and author. Many of the talents useful to a player are the same that are required for literary pursuits, such, for example, as Ideality, Analysis, Mental Imitation, Human Nature, Constructiveness, Form, Size, Verbal Memory, Language, and Intuition. Most of these are the faculties which the sculptor and painter exhibit in their vocations.

Fine manners, wit, and all sorts of accomplishments are useful to the player, and he will do wisely and add greatly to his success if he pursue the study of them industriously. He must study music, dancing, elocution, fencing, the use and nature of cosmetics, and the arts of dress, with a knowledge of historic costuming, if he would excel. All these graces, added to a natural qualification for this branch of art, should bring wealth and fame.

THE SYSTEMS AND FACULTIES ESSENTIAL TO A SOCIETY BELLE.

Physical beauty is not an absolute requirement of a popular society lady, but she must possess tact, charming manners, certain accomplishments, amiability (or its counterfeit, vivacity), and style in dress, manners, and bearing. She must be au fait with the existing customs of the society in which she mingles. If to these qualities or a part of them she add beauty, she will become a celebrity. In this rank we may place the celebrated Lady Sidney Morgan, Madame de Pompadour, the Countess of Blessington, Madame de Staël, and Madame Recamier, all of whom were renowned for their success as leaders of the most brilliant society of their era.

The art of conversation of the kind suited to the general mind must be one of the talents of a society belle; she must know how to avoid subjects likely to wound or offend; she must be able to talk of matters light and pleasing or original and interesting; she must have the capacity for remembering the names, faces, and position or rank of persons and where she has met them; she must exhibit a kindly interest in the affairs and welfare of her associates, and must exercise great discrimination in the mingling of her guests.

She should be kind to the needy and charitable in overlooking the foibles of her associates; she should cultivate tact and all accomplishments; she should possess a fund of general information upon art, literature, music, the opera, history, and the drama; she should be a patroness of charities and busy in church affairs; she should seek the acquaintance of all eminent in literature and influential in politics and in society; she should cultivate a memory for faces, names of persons, and the localities from whence they came, and remember where she has met them.

The elegant figure of Madame Recamier, one of the most amiable and beautiful women of the Imperial Court of France, is a specimen of a most brilliant and successful society belle.

THE SYSTEMS AND FACULTIES NECESSARY FOR AN OPERA-SINGER.

Opera-singers, both male and female, require, first, great good health; second, a strong and symmetrical physique. The muscular and nervous systems should be supreme, with sufficient of the brain system to aid the intelligent rendering of character. The thoracic system should be one of the superior systems, and the abdominal powers strongly developed; particularly should the diaphragm be powerful. Among the great opera-singers we find no wasp-waisted subjects; hence Nature has free play, and these

song-birds are able to give forth the most spontaneous, sonorous, mellifluous, and prolonged efforts. The greatest of lyric artists,

FRANCE.)

This engraving is taken from the lovely painting by David, which now adorns the Gallery of the Louvre at Paris. It is a representation of one of the most beautiful women of modern times. Her beauty was equaled by her elegant manners, kindness of heart, and equable disposition. Could Michael Angelo have seen this charming creature he would have dedicated his celebrated line to her,-"The might of one fair face sublimes my love." In this subject the brain and nervous system is supreme; the muscular powers rank next and are of the finest quality. The lovely oval of the jaw and chin and the rounded contours of the arms and joints reveal the presence of the muscular system. The face has an expression of amiability, vivacity, and elegance. The entire countenance proves the supremacy of the aesthetic mind. The signs for Conscience and Firmness are normal. Benevolence, Hospitality, Approba tion, Friendship, Love of Young, and Amativeness are well defined. The upper lip is short and curved outwardly,-another artistic indication. The nose is long and straight, the tip developed at the signs for Ideality, Sublimity, Mental Imitation, and Constructiveness. Veneration and Self-will are well represented; so, also, are Form, Size, Observation, Language, and Color. The forehead discloses Memory and Artistic Reason and Judgment. The eyes are curved and express Agreeability. The attitude is expressive of the grace, freedom, simplicity, and abandon of childhood, and the countenance is sparkling and intelligent."

such as Grisi, Persiani, Patti, Nillson, Gerster, Frau Materna, and others have a beautifully developed muscular physique, expressive

face, large bright eyes, arched brows, curved jaw, and other muscular signs.

FIG. 355.-GIULIA GRISI. (OPERA-SINGER.)

The noble figure and beautiful face of Grisi fills the mind of the physiognomist with enthusiasm. Not only does the beauty of the face arouse one's feelings, but the sight of so grand a bodily development in a woman affords the highest satisfaction. The attitude of the body, the form of the arms and shape of the hands, the development of the thorax and shoulders, the poise of the head, all tell us of a regal woman. The rounded outlines and presence of curves everywhere stamp it as an artistic mind. Quality, color, proportion, and harmonious development all conspire in this glorious organism to produce perfection. The chin and lower jaw are curved, disclosing dramatic powers. The lips are beautifully molded and indicate vocal capacity; the upper lip announces Amativeness, Modesty, Love of Young, Dignity, and Independence. The nose is straight and high, and has all the signs of artistic originality; the signs for Analysis, Mental Imitation, Human Nature, Ideality, Sublimity, Construction, Veneration, Executiveness, and Self-will are conspicuous. The eyes are dark and express fluency. The interciliary space is artistic; the brows are finely curved and disclose æsthetic tastes. The signs for Form, Size, Observation, Memory of Events, and Artistic Reason are all displayed. The length from the tip of the nose to the point of the chin is quite marked; the cheeks and lips are full and altogether indicate musical talent The color of the hair is black, thus affording the fervor and intensity of feeling necessary for the expression of the grand dramatic characters which she portrayed so magnificently upon the lyric stage. The whole expression is one of kindliness, sympathy, and artistic genius.