Facts or faces, or, The mutual connexion between linear and mental portraiture morally considered, and pictorially illustrated by a series of graphic heads of all the dispositions of the mind : with a dissertation on personal beauty, showing what it is, and what is mistaken for it, by a comprehensive view of constructive, ornamental, and expressive beauty, and their relative importane to each other also, an essay on complexion of character

Front matter

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I

Preface

Although it must be admitted that that which requires an excuse for being printed ought not to be printed at all, yet an explanation, at least, must be conceded to those who may venture to undertake an exposition of the Physiognomical Art; as, from its personal and uncompromising nature, it is difficult and dangerous for any individual to risk an illustration of it without seeming to take the severities of the science upon his own shoulders. If, however, a preface may be allowed to supersede an apology, the following statement will be no less due in defence of the science than in vindication of the work itself.

The present Treatise (submitted with so much deference to the public) would never have been contemplated, had not a too partial representation of the Art rendered it in the same degree equivocal, if not objectionable, from having been treated hitherto so lineally and speculatively as to address itself almost as much to the fancy as the form, by separating Faces from Facts, and giving the science such an unfair advantage over the subject as to render it capable of comprehending more cases than were ever yet found upon the human countenance. With a view, therefore, of rectifying tlie mistakes, rather than of disputing the sufficiency of more comprehensive works, it has been the present object to limit the science to its own sphere of observation, by simply introducing no more heads into the connection than would be marked by tlio effects f)f those tempers and dispositions ^vith wliich they

IV.

are associated ; and as these are proscribed to the number contained in the volume, it might be as vain to anticipate a further supply as to attempt to add another letter to the alphabet. In arranging for these, it professes to fill up the bare outline A^dth moral considerations, and to take such a collective view of the Avhole, that the lines, with their corresponding signs, shall he so mutually tried and tested, that every mind may become its owm arbiter, and every face its own interpreter. It is but just to observe, by the Avay, that in adverting to the unexceptionable parts of Character, we are necessarily directed to the darker side of the medal for those shades of distinction that are hot to be seen on the brighter side, but which Avould have been more frequently adverted to, w^ere it not that their varieties are less remarkable, because more uniform and agreeable. If beyond this, the Characters here illustrated are taken in extent, it is only the better to understand what they are in degree : and Avhere any unpleasing individuality may attach to those in whom a good expression is allowed to prevail, it is equally to be remembered that there are few defects without their redeeming points ; and that the mind can no more take its Complexion from the few spots which discolor it, than one feature may be said to make a face.

Admonished by the old Greek proverb, that “ great books are a great evil,” it has been the endeavour to render this as concise and familiar as possible ; feelingly alive to the cruelty of laying additional burthens upon the groaning press, Avhich has upon it already more than either it or the rvorld is able to bear. As it is presumed that the little volume, in this respect, Avill escape its own censure on account of its .size, it will have the satisfaction, at least, of being acquitted of the heaviest part

V.

of the charge ; while the lighter particulars, which are introduced in order to amuse away all that may have a tendency to offend, may be placed to the same account, and as liberally allowed for.

But, apart from every other view of the subject, it has been the author’s endeavour to establish the too often overlooked fact of the necessary connection between Linear and Mental Portraiture, by such a two-fold application of both, that the moral observations, he trusts, will act in confirmation of the truth of his discoveries, and the pictorial representations in proof of the validity of the Art,

It only remains to state, that in furnishing the graphic Illustrations there is no invidious selection of male and female heads, which are introduced alternately, to shew that such dispositions are not peculiar to either, but incidental to both.

Index To The Contents

. 3

. 11

. 19

. 25

. 33

. 41

Cunning in the Imbecile .

. 51

. 57

. 63

Conceit (Grave) ....

. 71

Envy

. 83

. 01

Voluptuousness IIC

Itirati] :

Its elements in Nature tested by the principles of Art 186

Geometrical Beauty, considered in relation to Grecian Models ; their beauties

and peculiarities 185

Prejudices and Prepossessions of Art 186

Conventional Notions of Beauty . .188

First-sight Impressions ib.

IDEAL BEAUTY.

Its Nature and Origin 189

Drawn from no Celestial source . .191

The Materials from whence gathered 192

COMPARATIVE BEAUTY.

General Proportions and Individual forms compared 192

Proportions, as fixed by the Venus de Medicis and Apollo Belvedere . 194 Singular instance of unequal division ib. Long, short, round, and oval Faces consistently arranged and compared 195 The Three Orders of Face . . . .196

Perplexing Views of Beauty artistically exemplified & naturally explained 197

ARTIFICIAL BEAUTY.

In what consisting 199

Happy Conceits 200

Anecdotes of Victims of Early Flattery ib.

COMPOUND BEAUTY.

Natures that may, or cannot, amalgamate 202

Finest examples of their Union. . . tb.