New Physiognomy : or signs of character, as manifested through temperament and external forms, and especially in the "the human face divine." . ome iii., p. 4 7 0). Hesays : The regionsof the reflective facul-ties, of Cautiousness,and of the moral sen-timents are all largelydeveloped ; Venera-tion and Benevolence[ and Conscientious-ness, he should haveadded], in particular,are well marked. Theperceptive 498. - Goethe. considered generally, are only moderately developed; but Time and Tune are excep-tions, being almost always large. The organs of Ideality,Constructiveness, and Gus
New Physiognomy : or signs of character, as manifested through temperament and external forms, and especially in the "the human face divine." . ome iii., p. 4 7 0). Hesays : The regionsof the reflective facul-ties, of Cautiousness,and of the moral sen-timents are all largelydeveloped ; Venera-tion and Benevolence[ and Conscientious-ness, he should haveadded], in particular,are well marked. Theperceptive 498. - Goethe. considered generally, are only moderately developed; but Time and Tune are excep-tions, being almost always large. The organs of Ideality,Constructiveness, and Gustative-ness [Alimentiveness] are oftenvery prominent. Secretivenessand Self-Esteem are also very con-spicuously large. In generalform, we may add, the Germanhead differs from the English inits greater angularity or square-nesSo The skull of Spurzheim(fig, 499) is a correct but favor-able specimen of the Germancrania. The facial bones arebroad, the chin wide and square, the nose rather broad and mode- pjg. Skull. rately prominent, the lips full, the eyes blue, the hair andbeard light, and the complexion florid. The temperament. THE SCANDINAVIAN. is sanguine or vital, with a strong tendency toward thelymphatic. The German is by organization a scholar, a metaphysician,a poet, an inventor, an investigator, an experimenter, a critic,a protestant, a doubter. He is slow but industrious, patient,and persevering. No mental task is too formidable for liinito undertake, no problem too profound for him to attempt tliosolution; and while he discovers many new truths, he gener-ally leaves it to others to make a practical application of music, he occupies, unquestionably, the first place amongthe men of all nations and all times, as the names of Handel,Hayden, Mozart, Beethoven, and Mendelsohn sufficientlyattest. A Goethe, a Schiller, a Humboldt, a Kant, and aFichte speak for him in other departments. A people so pro-lific in really great men should, it would seem, form a
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