I know a lady who has Language small, and Form, Color, Order and Number large, and she can only remember names by calling to mind their appearance when written. ATTENTION-Is when Individuality is directed to a particular object; but what the object shall be, depends upon the other organs; we attend to those things which are most interesting to our largest propensities. Alimentiveness for example, prompts Individuality to attend to food; Constructiveness, to mechanical structures; and Parentiveness to children. 1 15 Gibbon. W. Washington. 1 Pinkney der 1. INDIVIDUALIT guage sometimes a 4. FORM contrib and Raphael, and 6. Weight giv 7. COLOR give brow, a little outs! and Hogarth; but LOCATION OF THE INTELLECTUAL S. 115 LOCATION OF THE INTELLECTUALS. 1. INDIVIDUALITY gives prominence and width at the upper part of the nose, or else it is developed downward like the middle of a yoke, or both. 2. CHEMICALITY, gives fullness to the bones under the eye, and length from the ear to the nose. See Anacreon and the landlord, and Mr. D., plate II. 3. LANGUAGE Crowds the eye outward and downward, causing a bagging appearance under the eye, as in Milton, Voltaire, and Horn Tooke. When Chemicality is large Language sometimes appears smaller than it really is. When Language is small, the eye is sunken. 4. FORM contributes to give width between the eyes; it crowds the eyes towards the outer part of the socket so as to show a space between the eye and the nose. See Milton, and Raphael, and compare them with Baxter, in whom Form is deficient. All this Range is large in Archimedes. SIZE gives width to Individuality, and makes an obtuse angle at the junction of the nose and forehead, and also makes the brow prominent at that part. See Raphael and Watt. When small, the brow will form nearly a right angle with the nose, as in Baxter. 6. WEIGHT gives a heavy, deep, overhanging appearance to the brow, as in Watt and Fulton. When small, the brow is shallow and almost even with the eye at this part. 7. COLOR gives a swelling, or arched appearance to the brow, a little outside of the middle, as in Rubens, Titian, and Hogarth; but when small the brow will be depressed or flat. At that place there is naturally a little depression, or hollow in the bone, which must not be mistaken for small Color; the organ is a little outside of the hollow. 8. ORDER is over the external angle of the eye, at the angular protuberance of bone that is formed for the attachment of a part of the mastoid muscle; this bone is sometimes mistaken for a developement of this organ and of Tune. Order is just under Tune. When both Color and Order are large, the brow will be arched. When Order is larger than either Color or Number, the brow will appear angular like that of Cuvier, or Washington. 9. NUMBER, is at the outer extremity of the brow, and when large gives fullness and length to it, as is well represented in the brow of Lagrange, the celebrated mathematician, who at the age of sixteen, was professor of mathematics. When Number and Order are both small, the brow falls off from above, and constitutes but a narrow ridge close around the eyes, and not the broad swell as in Lagrange and Colburn, and Newton, Washington and Hamilton. 10. DIRECTION OR LOCALITY, when very large, protrudes the frontal sinus forward, and gives it prominence on each side of Individuality, and just above Size, as it is seen in Columbus, Cook, A. Vespucius, and Washington. 11. EVENTUALITY gives roundness and fullness to the centre of the forehead between Individuality and Comparison, as in Mr. D., plate II. 12. TIME continues laterally the fullness of Eventuality. 13. TUNE is just above Order, and gives width to that part of the forehead, as seen in Mozart, Weber, and Handel. 14. COMPARISON, gives prominence to the centre of the upper part of the forehead, as in Anacreon. 15. CAUSALITY gives fullness outside of Comparison, and makes the forehead wide and prominent at the upper part. |