forehead in one continuous line, it denotes courage and much warlike
ambition; if the line be broken, such a person will be a brawler and
quarrelsome and will experience ill fortune in war.
The Line of the Sun being perfect and reaching nearly to the middle of
the forehead, shows ambition, good judgment and success; being broken
or oblique in its form, it shows egotism and love of money.
The Line of the Moon, clear and perfect above the left eyebrow, much
imagination and also much travelling into strange places. When this
line is broken or much curved, it indicates caprice and want of truth.
The Line of Venus, delicately marked and straight, shows tenderness and
success in love matters; if broken and curved, the reverse.
If three lines appear in the place of Mercury across the bridge of the
nose, they denote eloquence and wit; if more than three, loquacity and
deceit.
So much for the _lines_ on the forehead. As to the _form_, Aristotle
tells us that "a very large and prominent forehead shows stupidity"; it
is quite true that men of the highest intelligence have foreheads of
medium height, but exceptionally broad and full over the eyebrow.
A forehead which is very full over the eyebrows and rather low than
high, shows intuitive faculty, artistic perception and idealism; we see
this form of brow in all the antique statues of Apollo. A very
projecting forehead, fuller above than below, and so large as to appear
to dominate the whole face, is generally the forehead of a slow if not
a dull intellect. A perpendicular forehead, well rounded at the
temples, rather high than low and having straight, well-defined
eyebrows, shows solid power of the understanding, love of study and
power of concentrating the attention, but it is not the forehead of the
poet, painter, or musician.
Arched foreheads, somewhat low, but full at the temples, with long,
sweeping and mobile eyebrows, appear properly to be feminine, since
they show sweetness and sensitiveness of nature.
High, narrow and wholly unwrinkled foreheads, over which the skin seems
tightly drawn, are indicative of weakness of the will-power, want of
imagination and very little susceptibility. They are the foreheads of
narrow-minded, commonplace persons. Of course other features may soften
these indications; intelligent eyes may give intellect, or a sweet and
tender mouth feeling enough to, at any rate, diminish the unpleasant
indications of this type of forehead.
Foreheads not altogether projecting, but having angular and knotty
protuberances upon them, denote vigour of mind and harsh and oppressive
activity and perseverance. To be in exact proportion, the forehead
should be the same length as the nose. In Greek art, however, it is
generally shorter, which gives softness and elegance to the face. It
should be oval at the top, or somewhat square; if the latter, it gives
more force--if the former, more sensibility of character. It should be
smooth in repose, yet have the power of wrinkling when in deep thought,
or when in grief or anger; for foreheads over which the skin is so
tightly strained as never to change under these circumstances show a
dull, unsensitive and unintellectual nature. A forehead should project
more over the eyes than at the top, and there should be a small cavity
in the centre, separating the brow into four divisions: but this should
be so slightly accentuated as only to be seen when the forehead is in a
strong light coming from above it.
When the eyebrows are far from each other at their starting-point
between the eyes, they denote warmth, frankness and impulse--a generous
and unsuspicious nature. A woman or man having such eyebrows would
never be causelessly jealous. Eyebrows, on the contrary, which meet
between the eyes in the manner so much admired by the Persians denote a
temperament ardent in love, but jealous and suspicious: all Saturnians
have these eyebrows.
Eyebrows somewhat higher at their starting-point, and which pass in a
long sweeping line over the eyes, drooping slightly downwards at their
termination, show artistic feeling and great sense of beauty in form.
The Empress Eugénie's eyebrows are of this form, which gives a sweet
and wistful expression to the face and which some old writers have
asserted to be the sign of a violent death.
Eyebrows lying very close to the eyes, forming one direct, clear line
on strongly-defined eyebones having the same form, show strength of
will and extreme determination of character. This sort of eyebrow
appears on the busts of Nero; but there its indications of
determination are deepened with cruelty by the massive jaw and the
development of the cheekbone by the ear. This form of eyebrow, in
conjunction with other good indications, would mean only constancy in
affection, power of carrying out a project despite all difficulties and
taste for science.
Eyebrows that are strongly marked at the commencement and then
terminate abruptly without sweeping past the eyes, show an irascible,
energetic and impatient nature.
Thick eyebrows, somewhat arched, show artistic perception of beauty in
colour. Delicately marked eyebrows, slightly arched, indicate
tenderness.
Eyebrows lighter than the hair show weakness and indecision. Eyebrows
much darker than the hair denote an ardent, passionate and constant
temperament.
Angular, strong and sharply interrupted eyebrows close to the eyes
always show fire and productive activity. No profound thinker has
weakly marked eyebrows, or eyebrows placed very high on the forehead.
Want of eyebrow almost always indicates a want of mental and bodily
force. The nearer the eyebrows are to the eyes, the more earnest, deep
and firm the character; the more remote from the eyes, the more
volatile and less resolute the nature.
Eyebrows the same colour as the hair show firmness, resolution and
constancy; but in judging of the eyebrows it must be remembered that if
form and colour give different indications, the _form_ (as this also
means that of the brow) gives the most important indication, the colour
and texture of the eyebrow being secondary to its _position_ as regards
the eyes and forehead.
CHAPTER XXVIII.
THE EYES AND EYELASHES
The eye has been called "the window of the soul," and not without
reason, for it seems more than any other organ to be capable of
expressing all its emotions. The most tumultuous passions, the most
delicate feelings, the most acute sensations, the eye expresses in all
their force and in all their purity, as they arise and transmits them
by variations so rapid as to give to the lookers-on the very image of
that with which it is itself inspired; for the eye receives and
reflects the intelligence of the thoughts as well as the warmth of the
feelings.
The colours most common to the eyes are brown, grey, blue, hazel and
black, or what we _call_ black--for those eyes which appear to be
black will generally be found to be of a deep yellowish-brown when
looked at very narrowly; it is the distance only which makes them seem
to be black, because the deep yellow-brown colour is in such strong
contrast to the white of the eye that it appears black. There are also
eyes of so bright a hazel as to seem almost yellow; lastly, there are
eyes that are positively green. Very beautiful, too, are some of the
eyes of this colour when they are shaded--as is very often the
case--with long, dark eyelashes; but, though beautiful, they are not
indicative of a _good_ disposition.
Green eyes, although their praises are often sung in Spanish ballads,
show deceit and coquetry. We sometimes see eyes which appear to be a
combination of yellow, orange, and blue, the latter colour generally
appearing in streaks over the whole surface of the iris, while the
orange and yellow are set in flakes of unequal size around and at some
distance apart; these eyes are indicative of originality, amounting, at
times, to eccentricity. No commonplace person has this sort of eye;
they show intellectuality, and, in most cases, literary ability.
There are eyes which are remarkable for being of, what might be said to
be, no colour. The iris has only some shades of blue or pale grey, so
feeble as to be almost white in some parts, and the shades of orange
which intervene are so small that they can scarcely be distinguished
from grey or white, notwithstanding the contrast of colours. The black
of the pupil is, in these eyes, too marked, because the colour of the
iris around it is not deep enough, so that in looking at them we seem
to see only the pupil. These eyes are expressionless, for their glance
is fixed and dead; they invariably belong to persons of the lymphatic
temperament, and they indicate a listless and feeble disposition,
incapable of enterprise and a cold and indolently selfish nature.
Blue eyes are more significant of tenderness and of a yieldingness of
purpose than either brown, black, or grey eyes. There are occasionally
to be met strong characters with this tint of eye, but then they will
be found to have other indications in the rest of their physiognomy
which correct the delicacy and yieldingness of this coloured eye.
Blue-eyed people are not inconstant, like those of the hazel and yellow
eyes, but they yield from affection.
Angry, irritable persons have frequently eyes of a brownish tint,
inclined to a greenish hue. Although the purely green eye of which I
have spoken indicates deceit and coquetry, the propensity to greenish
tints in the eyes is a sign of wisdom and courage. Very choleric
persons, if they have blue eyes, have also certain tints of green in
them and, when under the influence of anger, a sudden red light appears
in them. Such eyes as these are generally found in connection with the
sanguine, or, as it is sometimes called, choleric temperament; that is,
in those persons who have been born under the double influence of
Jupiter and Mars; but, when we see these red tints in the eyes, it
would be a sign that, of the two planets presiding over this
temperament, Mars was dominant.
Clear grey-blue eyes, with a calm steadfastness in their glance, are
indicative of cheerfulness of disposition, of a serene temper and a
constant nature. These eyes are peculiar to the Northern nations; one
meets with them among the Swedes, and also sometimes amongst the
Scotch. The blue eyes we see among the rare blondes of the South--that
is, in Italy and Spain--always have eyes in which there are some
greenish tints; and such eyes, though often called light blue, have
none of the qualities of serenity and constancy which belong to the
light blue eyes of the North. Neither must the pleasant light blue eye,
with the honest glance, be confounded with another sort of eye of a
pale blue, almost steel-coloured hue, which has a continually shifting
sort of motion both of the eyelids and the pupils of the eyes. People
with such eyes as these are to be avoided, as they are indicative of a
deceitful and selfish nature. Very dark blue eyes, with something of
the tint of the violet, show great power of affection and purity of
mind, but not much intellectuality.
Grey eyes, of a somewhat greenish grey, with orange as well as blue in
them, and which are of ever-varying tints, like the sea, are those
which denote most intellectuality. They are especially indicative of
the impulsive, impressionable temperament--a mixture of the sanguine
and the bilious--which produces the poetic and artistic natures. The
line--
"The poet's eye, in a fine phrenzy rolling,"
does not suggest a blue, or even a black, so much as the changeful,
ever-varying tinted, grey eye; and it is a fact that in England (where
there are more varieties of tints in eyes than in any other country)
the poets have almost always grey eyes. A biographer of Byron speaks of
his "beautiful, changeful grey eyes, which deepened in colour when he
was under the influence of tenderness and passion, and which glowed
with a red light when he was angry." Shakespeare also had, we are told,
grey eyes, and so had Sir Walter Scott; whilst Coleridge had eyes of a
greenish grey. Among the artists, too, eyes of this colour abound.
Black eyes, or what are considered such, are indicative of passionate
ardour in love. Brown eyes, when not of the yellowish tint, but pure
russet brown, show an affectionate disposition; the darker the
brown--that is, the more they verge on to that deepest tint of brown
which is seen in eyes we are in the habit of calling black--the more
ardent and passionate is the power of affection. The brown eyes which
do not appear black--that is, which are not dark enough to appear
so--are the eyes of sweet, gentle, and unselfish natures, without the
inconstancy of the light brown or _yellow_ eyes--"golden eyes," as
they were called by a lady novelist--and which are very little more to
be trusted than the green eyes already spoken of. The maiden in
Longfellow's _Hyperion_, of whom he says,
"She has two eyes so soft and brown,
She looketh up, she looketh down;
Beware, beware, she is fooling thee,"
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--
"For oh! these charming women,
They all have wills of their own"--
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.
[20] The noses of those born under Venus are frequently
slightly upturned at the tip; they are never bent downwards
over the lips.
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.
CHAPTER XXXIV.
CONCERNING THE MOLES WHICH HAVE NO CORRESPONDING MOLES ON THE FACE
A mole on the right side of the throat shows to a man great wit but
short life, whatever may be its colour. To a woman it indicates a
reasonably happy life, but danger and pain from childbirth.
A mole on the left side of the throat threatens a man with dangerous
falls from horses or from high places. To a woman the same and, should
the mole be of a pale colour, danger by water.
A mole at the nape of the neck indicates to either man or woman great
danger of untimely death by water.
A mole in the midst of the throat--that is, on the gullet--shows to a
man much danger of death by strangulation or hanging. To a woman peril
in sickness and, if the mole should be black in colour, she dies.
A mole immediately under the right breast shows to a man that he will
be lucky in agriculture. To a woman that she shall receive inheritance
from the dead; if black, her father is killed by accident.
A mole under the left breast shows a man to be of a malignant nature
and furious of temper, but strong in love. To a woman it indicates
great constancy and suffering by reason of that constancy.
A mole on the knee, whether left or right, predicts, to either man or
woman, long and various journeys. Such persons will marry entirely for
their own fancy, probably foreigners, and will be very fortunate in
their marriages.
A mole on the calf of the right leg shows to a man that by his own
ingenuity and learning he shall attain a high position; if black, he
will receive some sorrow from women; but if the mole should appear
_raised_ he marries a lovely person--has only one wife and lives
happily. To a woman it shows a fortunate, good and rich husband and
that she will have many children and live long.
A mole on the lowest part of the body shows to a man that he is of a
very luxurious nature and that he shall be enriched by marriage. A
woman having this mole is rather sensuous, but--on the whole--faithful
to her husband.
A mole on the right shoulder shows a man to be fortunate in his
undertakings; if red, he has a large fortune with his wife. To a woman
it indicates a marriage above her expectations; but if black, she
buries her first husband and marries again.
A mole on the right foot shows to a man that he will be clever in
acquiring foreign languages and that he will be a great student of
occult matters. To a woman it promises a fortunate and happy, long
life; if black, this good fortune is somewhat chequered with troubles.
A mole on the left foot denotes a man to be rash and of an evil and
vagabond disposition. To a woman it shows much care and trouble and, if
black, danger in travelling.
If the second toe in a foot should stretch out much beyond the great
toe, it shows, to either man or woman, riches and a happy and
prosperous life.
A mole on the left shoulder predicts to a man much worry in money
matters. To a woman it shows a life of continual anxiety and
humiliation by reason of her own vanity. If black in colour, she
suffers some serious disgrace from her own conduct.
A mole on the lower part of the neck on the right side near the
shoulder shows a man to be very covetous. To a woman it indicates that
she will be beloved of princes or great personages far above her in
rank.
A mole on the neck near the left shoulder indicates to either man or
woman disgrace from evil practices.
CHAPTER XXXV.
CONCERNING THE MARKS GIVEN AT BIRTH BY THE SIGNS OF THE ZODIAC
By a knowledge of the signature given by the signs of the zodiac, when
rising at birth, we may sometimes ascertain the hour of nativity, or,
at any rate, go near enough to it to be able to work out the horoscope
after a fashion, supposing the exact date to be impossible of
attainment.
A person born when the first part of the sign Aries is rising will have
a small raised mole amongst the hairs of the head; if the second part
of the sign happened to be rising at the birth, the mark or mole would
be raised in the form of a pea or wart and would be seen on the
forehead; if the third part of the sign arose at birth, the mark would
appear below the mouth, or towards the chin. Those persons having these
marks of Aries on any of the parts described will generally be found to
have the mark of Mars in the lowest part of the body, also in the form
of a raised mole or wart.
When Taurus is rising at a birth, the native bears a mark in the front
of the throat, sometimes in the form of a raspberry or red-coloured
mole, which mark is always ill in its effects. Should the second part
of the sign Taurus have been rising at the nativity, the person will
have the mark at the side of the throat. If the third, the same mark
will appear on the nape of the neck, but then it will be more raised
than the two former moles.
Those born under Gemini have their marks in the arms. If the first part
of the sign arose at birth, they bear its mark on the right arm, near
the shoulder; if the second, on the same part of the left arm and if
the third part of the sign arises at birth, the native bears the mark
on the right arm, but below the elbow and generally near the wrist.
When the sign Cancer is in the ascendant, the mark is on the upper part
of the right breast in the form of a flower or a hare's foot, of a
whitish colour, and commonly having a hair or two springing from it. In
the older days this mark was supposed to be an evidence of witchcraft
in a woman and many poor creatures have lost their lives for this.
Those born under the second part of the sign Cancer have the mark lower
down on the breast and when the third part of Cancer is rising at a
birth, the sign is nearly under the breast.
When Leo is in the ascendant at birth, the sign is on the left breast
and, in the same manner, if the sign appears high up on the breast it
indicates that the first part of the sign was ascending; if near the
middle, the second; and if on one side, towards the left armpit, the
third part of the sign must have been ascending at birth.
In nativities under Virgo the mark is on the upper part of the stomach,
that is, between the two breasts, when the first part of the sign
ascends; those born when the second part is rising have the mark near
the navel; and those when the third part is rising quite low down on
the stomach. Those that are thus marked are very inconstant. The moles
given by Virgo are flat, and of a reddish colour.
When Libra is in the ascendant, the marks are raised like warts, and
are small, soft, and hairy; when the first part of the sign is rising
the mark is near the loins; when the second, towards the centre of the
stomach and the third part of the sign throws the mark to quite the
lower part of the body.
Those born under Sagittarius have the mark of the sign in the thighs
and these moles are raised like bulbs and are very big. When the first
part of the sign is rising, the mark is on the right thigh; when the
second part is rising, on the left thigh and those who have the third
part of Sagittarius rising at their birth are so marked on the right
haunch.
Those born under Capricornus have the marks on the knees, which marks
are quite flat. When the first part is rising, the mark is on the right
knee; when the second, on the left, and when the third, the mole is
under the knee.
It will be remembered that the sign Aquarius governs the legs;
therefore those who are born with this sign ascending have the mark of
it (which is a long-shaped mole) on the right leg (this mark shows
extreme inconstancy); when the sign Scorpio is rising at birth there is
a dark mole on the belly showing ill fortune.
The sign Pisces, or the Fishes, governs the feet; therefore those who
have this sign in their ascendant are marked on the feet. Those born
under the first part have the marks (which are ordinary flat moles) on
the right foot; those under the second, on the left; and those on the
third, on the soles of the feet or on the heels. These last are called
the Royal marks; they are large moles inclining to red, and those who
are marked in those places are assured of honours and dignities.
[Illustration: ALFRIDARY FOR A DIURNAL NATIVITY.
ALFRIDARY FOR A NOCTURNAL NATIVITY.
_To face Chapter XXXVI._]
CHAPTER XXXVI.
CONCERNING ALFRIDARIES
This word is taken from the Greek and refers to the certain time or
number of years of the several planets which, in those years, dispense
their benevolence or malignity according to their natures.
It will be observed from the plate at the beginning of this chapter,
that each of the planets has his Alfridary, one after the other--and in
this table will be seen the number of years in which each planet more
particularly governs the life.
In all diurnal nativities the Sun begins the first Alfridary, and has
seven years of government; Venus succeeds, having seven years of
Alfridary; then Mercury, who has seven years of government. After him
the Moon rules the existence for seven years; then Saturn for the same
number; Jupiter succeeds him for seven years; afterwards Mars dominates
the existence for seven years; after which the Dragon's Head and
Dragon's Tail influence the life for three years; and then the Sun has
five more years of government, when the life probably ends.
Those that are born in the night have their first Alfridaric years from
the Moon, which are seven, followed by those of Saturn, who has seven
years; after him Mars is dominant for seven years; then the Sun for the
same number of years; succeeded by Venus and Mercury, each only seven
years.
The years of an Alfridary are eighty-two--namely, the Moon, seven;
Saturn, seven; Jupiter, seven; Mars, seven; the Sun, seven; Venus,
seven; Mercury, seven; the Dragon's Head, three; the Dragon's Tail,
two. These two last have their Alfridaric years separate from the
others, and they are those which exceed the seventy years of life,
which are weak and feeble. For these signs are not (as we have seen)
planets, but only symbols of a place in the zodiac representing the
Moon's north and south nodes.
It will be noticed in these tables that, after the years of
seventy-five, the Sun in a diurnal nativity, and the Moon in a
nocturnal nativity, take up again their government, as at the beginning
of the life. These tables are interesting, as shadowing forth the dates
of the events of the subject's life.
Those born under the Sun marry early, whilst those in whose nativity
the Moon is powerful, generally marry rather late than early. In either
nativity, when Saturn comes up, sorrows by death, sickness and loss of
money may be expected; whilst, when Mars is powerful, evils of a strong
and sudden nature appear, such as accidents, sudden deaths, quarrels
and contentions of a vexatious character.
Those born under the Moon have very often serious and passionate loves
quite late in life; this is accounted for in some measure by the fact
that Venus has seven years of government in a nocturnal nativity from
the age of fifty to fifty-seven. The age of forty-four, in a diurnal
nativity, would be likely to bring about some misfortune during that
year of the native's life, _both the infortunes_, Saturn and Mars,
being then powerful. The same thing occurs in a nocturnal nativity at
the age of thirteen, from which age up to twenty there is not much good
fortune; it will be remembered that the latter part of the life of a
person born at night is generally much happier and altogether more
fortunate than the earlier years of existence.
CHAPTER XXXVII.
CONCERNING THE MYSTICAL WHEEL OF PYTHAGORAS AND THE METHODS OF WORKING
IT
This mystical figure is copied from a work in old French on Chiromancy
and Geomancy, compiled by the Sieur de Peruchio, and published at Paris
in 1657.
Arithmancy, or divination by numbers, on which the working of this
figure depends, was much practised in various ways during the Middle
Ages; and much confidence appears to have been placed in this wheel of
Pythagoras, which resolves questions by a species of sortilegy by
numbers, in which the result depends upon the unfettered agency of the
mind and will, or the serious intent to know any difficult thing. The
wheel is said by the old-world writers to be able "to resolve all
questions on all matters upon the result of which the querent desires
information, whether of the past, present, or future."
Concerning the method of working it, the Sieur de Peruchio gives the
following explanations:--
The wheel, it will be perceived, is divided into four equal parts, the
upper part of which contains the numbers which are _fortunate_, and the
lower half those which are _unfortunate_. Around the wheel are seen the
letters of the Alphabet, above which are placed certain corresponding
numbers, which are required in the calculations.
The following table gives the numbers to be chosen by chance (as will
be explained further on) in working the questions:--
--------------------------
¦ 1 ¦ 11 ¦ 22 ¦ 28 ¦ 29 ¦
|----|----|----|----|----|
¦ 6 ¦ 2 ¦ 12 ¦ 23 ¦ 30 ¦
|----|----|----|----|----|
¦ 15 ¦ 7 ¦ 3 ¦ 13 ¦ 24 ¦
|----|----|----|----|----|
¦ 19 ¦ 16 ¦ 8 ¦ 4 ¦ 14 ¦
|----|----|----|----|----|
¦ 25 ¦ 20 ¦ 17 ¦ 9 ¦ 5 ¦
|----|----|----|----|----|
¦ 27 ¦ 26 ¦ 21 ¦ 18 ¦ 10 ¦
--------------------------
The inquirer, whilst thinking _earnestly_ upon the matter he wishes
resolved by the wheel, must choose a number out of the above Table.
This is better done with the eyes closed, and the number pricked out
with a pin, so that there may be no premeditation in the choice. To
this number, thus chosen, the inquirer must add the number answering to
the first letter of his first name, which number is seen in the wheel
itself where the numbers are above the letters of the alphabet. To this
number must be added the number of the day of the week on which the
question is asked and of the planet ruling that day. Then add all these
numbers together and divide the sum by 30 as often as it can be done.
Then look for that number which is the remainder in the inner circle of
the wheel; observing in what part of the wheel it falls should there
happen to be _no_ remainder, then the number 30 must be looked for. If
the question to be propounded should be whether anything about to be
undertaken will succeed or not, should the number fall in the _upper_
part of the wheel the matter will have a happy issue; but if, on the
contrary, the number appears on the _lower_ part of the wheel the thing
in question will not be a success. In any question where time is
concerned as, for instance, as regarding how long or how short shall be
the matter in hand it must be borne in mind that the numbers in the
right half of the wheel represent _long time_--that is, that the event
about which the question is asked will be some time before it comes to
pass; whilst those in the left half of the wheel signify _short_
time--and so, whether for good or evil, shall the business quickly or
slowly come to pass.
All questions are thus to be asked but _one_, and that is, whether
a sick person shall recover or die; in which case, after proceeding to
add the numbers of the Christian name, the day of the week and the
planet, the number representing the Moon's age on the day the question
is asked must also be added; for example, if a person whose name is
Veronica--asks on a Wednesday, 20th day of the Moon, if a sick friend
should live or die, and chooses from the Table the number of 23, the
matter would be worked thus:--
Number chosen 23
Number answering to the letter V 9
Number answering to Wednesday 102
Number answering to the planet Mercury 114
Number of the age of the Moon 20
---
268
This, divided by 30, leaves 28 remainder, which will be found to fall
in the unfortunate part of the wheel, showing that her friend will
_not_ recover.
The following table of the mystical numbers representing the planets,
and also those belonging to the days of the week which each planet
governs, is of much importance in working the wheel:--
PLANETS. ¦ DAYS OF THE WEEK.
¦
[Saturn] 55 ¦ Saturday 45
¦
[Jupiter] 78 ¦ Thursday 31
¦
[Mars] 39 ¦ Tuesday 52
¦
[Sun] 34 ¦ Sunday 106
¦
[Venus] 45 ¦ Friday 68
¦
[Mercury] 114 ¦ Wednesday 102
¦
[Moon] 45 ¦ Monday 52
These several numbers attributed to the days of the week, as well as
those of the planet ruling the day, are of very ancient origin and are,
probably, as well as the wheel itself, a relic of former _traditional_
foreknowledge by lots and numbers.
There are certain days, however, which are evil days, on which no
question should be asked of the wheel of Pythagoras. These days are as
follows:--
Of January, the 3rd, 4th, 5th, 9th and 11th.
Of February, the 7th, 13th, 17th and 19th.
Of March, the 13th, 15th and 16th.
Of April, the 5th and 14th.
Of May, the 8th and 14th.
June has but one ill day, which is the 6th.
July has two, the 16th and the 19th.
August has also only two, the 8th and 16th.
September has three, the 1st, 15th and 16th.
October has only one ill day, which is the 16th.
November has two, the 15th and 16th.
December has three, the 6th, 7th and 11th.
This is a very old tradition, and in mediæval ages these days were
universally shunned as "ruled by evil influences." In conclusion, those
consulting the wheel of Pythagoras are advised not to ask more than one
question on the same day and to refrain from all gibing, sporting, or
jesting, and--above all--from all unbelief whilst making use of this
mystical wheel in order to know the truth.
ENVOY.
Go--little book--and teach the present age something of the wisdom
bequeathed us by the Past.
End of Project Gutenberg's The Influence of the Stars, by Rosa Baughan