THE ARTISTIC BROW.

Where the brow is highest at about two-thirds of the distance from its inner terminus (Fig. 280) it denotes artistic capacity, and this peculiarity is found in this locality in the countenances of most good and great artists. It is more decided as age advances, and is

caused by the frequent raising of the brow in order to observe the artistic effect of the work in hand.

Having now considered the indications of interciliary space at the inner end and centre of the brow, we proceed to investigate the position of the outer extremity of the eyebrows.

POSITION OF THE OUTER TERMINI.

THE ARITHMETICAL BROW.

The positions which are observed at the outer end of the brow give great variety of expression to this feature. A wide space between the outer angle of the eye and the terminus of the brow (Fig. 281) is found to be widest where the muscular is one of the dominant systems, and denotes calculative ability. It is most pronounced in the countenances of astronomers, physicists, surveyors, good arithmeticians, mechanicians, architects, and inventors of machinery, and is general in those races in whom the muscular system is supreme.

The following are two of the most common modifications of the arithmetical brow: If the outer terminus turn slightly downward, and leave a moderate degree of space between it and the

corner of the eye, a medium degree of arithmetical calculation may be predicated.

Where the brow turns downward at its outer extremity, and

FIG. 281.-ARITHMETICAL EYEBROW. (DELAMBRE.)

inward toward the corner of the eye, either by a curve or angle, leaving little or no space between it and the eye, it denotes only a very slight amount of the calculative faculty.

THE DECEPTIVE EYEBROW.

Obliquity of outline, when very decided, denotes obliquity of action or the opposite of straightforwardness, and eyebrows with a very pronounced upward slant from the inner termini (Fig. 251), are infallible indicators of deceit, craft, and treachery, and if the eyes are very light in combination the character will be cold, malignant, unfeeling, cruel, and brutal.

There are several modifications of this brow; one form is somewhat less oblique than the former, and denotes much less talent for deceit, but is not altogether reliable. The character accompanying this form will exhibit a certain degree of secretiveness, and indulge in small tricky ways and resort to useless sly methods.

Another modification is shown by a scheming, calculating disposition, both worldly and arithmetical.

THE ESTHETIC EYEBROW.

Long, narrow, and regularly arched brows, covering wellarched eye-bones, are found in the faces of persons possessed of order and æsthetic tastes; these traits will be exhibited in a variety of ways-in elegance of personal adornments, in the artistic, tasteful, and orderly arrangement of furniture and surroundings, and by a love of art-objects, such as pictures, statues, bric-abrac, etc. If the brow is black or dark in color the color-sense will influence the selection of dress and appointments, and these

will be of most decided and brilliant tints. If the brow present a lighter color in conjunction with this form, the preference will be for more delicate shades. If possessed of literary or histrionic

talent, elegance of style and sentiment will be the distinguishing characteristics. See the physiognomies of Buffon, Pascal, Charlotte Brontè, Addison, Shelley, Vandyck, Madame de Staël, David Garrick, and Mendelssohn.

The peculiarities of this type of eyebrow are its curvilinear form, length, color, narrowness, and regular arrangement of the hairs.

THE INVENTIVE EYEBROW.

The most conspicuous marks of what I term the inventive brow are its thickness, depth of color, length of the hairs, and bold and disorderly arrangement of the hairs, particularly at the ends (Fig. 283). The brows of Carlyle, Darwin, and S. F. B. Morse are admirable specimens of this type. The characteristics above described reveal a bold, original, inventive or creative mind. in some department of mental labor. Those who exhibit this peculiar type of brow think and act outside of the conventional groove, and are given to discovery, exploration, creation of original theories and methods in art, science, philosophy, mechanism, warfare, statesmanship, or theology. To know to which of these directions the mind will be turned the student must look for other signs in combination. The following-named eminent men disclose eyebrows of this class; see, for example, the portraits of Carlyle, Charles Darwin, John Pierpont, John Knox, General Scott, Abraham Lincoln, General Napier, Lord Shaftesbury, Rufus Choate, Beethoven, Wagner, and Michael Angelo.

THE VITAL EYEBROW.

A brow that is wide, either straight or curved, of medium length, thick, and dark-colored or black, is an indication of constitutional vigor. It is often observed in its straight form in the countenances of iron-workers and other mechanics. When arched it denotes more of an æsthetic tendency. This type of brow is seen only in the countenance of vigorous, strong-willed, passionate characters, good lovers, and good haters.

THE DELICATE EYEBROW.

Observation of the physiognomies of many individuals in whom the nervous system is extremely sensitive, and also one of the dominant systems, will disclose eyebrows that are thin, lightcolored, and the hairs straggling, in some cases scarcely visible. This appearance denotes qualities the opposite to those indicated

by the vital eyebrow; those with this variety of brow are sensitive, mild, and delicate, with not much muscular development nor great vitality. If the brow be dark or black more constitutional vigor is present than with the light color.

MOVEMENTS OF THE BROWS.

The affluent muscular endowment of the hairy brow gives great facility of movement, and the movements of the brow are rich in physiognomic signification,-not only so, but the lines, folds, and wrinkles, caused by the continuous muscular movement of the brows, stamp their record of active thought and feeling upon the physiognomy.

There is a profound yet subtle meaning revealed by the surroundings of the eye, particularly in regard to the emotional nature, for movement is adapted to the expression of emotion, and

emotions, if often exercised, never fail of leaving their imprint behind. Love, sensuality, mirth, anger, parsimony, gluttony, and secretiveness, all alike leave traces about the eye that are easily recognized by the keen observer. The lids in particular, by their condition, give us unmistakable knowledge of both temporary and permanent condition of health, ill health, excesses-both sexual and alimentive-long continued, joy, grief, or prolonged study and close and habitual observation; all these are independent of the pathognomonic changes which disease produces; these changes belong to the mind of the individual, and are purely physiognomic.

Let the student place before him one dozen portraits of characters of advanced age of diverse pursuits, and make a study and comparison of the appearances, surroundings, and appendages of the eye, and he will become convinced that these phenomena are highly significant of character, and indisputable records of life and mind.

In order to comprehend the full physiognomic meaning of the movements of the eye we must analyze the uses of the several muscles involved in producing these movements, and also the use of the resultant movements as well. Orbicularis palpebrarum is the broad muscle that surrounds the orbit of the eye. (See Fig. 126, at the head of this chapter.)

Its use is to close the eyelids chiefly by depressing the superior, the levator muscle of which it directly opposes. It also serves to press the tears inward toward the punctata lachrymalia; the superior orbital fibres can depress the eyebrow and aid the corrugator supercilii in drawing it, as well as the eyelids, inward, and oppose the occipito-frontalis and shade the eye; the inferior fibres can raise the cheek, raise and draw the lower eyelid inward, and compress the lachrymal sac which they cover.

Corrugator supercilii arises fleshy and tendinous from the internal angular process of the os frontis, passes upward and outward, and is inserted into the middle of the eyebrow, mixing with the orbicularis and occipito-frontalis muscle; use, to depress and approximate the eyebrows, throwing the skin of the forehead into vertical wrinkles, as in the act of frowning. This pair of muscles are voluntary, but they cannot act separately; they directly oppose the occipito-frontalis and shade the eye.*

Observers will discover that the observing and thinking classes of minds use the internal portion of the orbicular muscle most, i.e., that portion which enables the eyebrows to approximate as they do when the subject is employed in close observation or in deep reflection. The middle and outer portion of the eyebrows are used by the more emotional classes; hence actors engaged in portraying light characters move the centre and outer extremities of the eyebrows, but in delineating grand and thoughtful char

* Practical Anatomy, Robert Harrison, p. 23.