TRADES AND FACES. 639 



able that Turner might have been a much more presentable 

 man, though possibly less famous, had he devoted himself to 

 figure painting. 



Actors' and actresses' faces are of great interest to the physi- 

 ognomist. An actor's art must of necessity involve the stimula- 

 tion of both the muscular and trophic factors of expression. Not 

 only has he to emphasize the facial movements which are appro- 

 priate to his part, in order that his expression may be plainly 

 seen by the pit and gallery, but he is as a rule obliged to change 

 his role frequently, and to assume a succession of characters re- 

 quiring very different facial renderings. As a result, all his ex- 

 pression muscles are exercised as thoroughly as are the body 

 muscles of an athlete who is undergoing a systematic course in a 

 gymnasium. Hence in a typical actor's face, when seen at rest, 

 no one group of expression muscles outpulls the others, and as a 

 consequence of this state of muscular balance there is about it a 

 peculiar aspect suggestive of a mask. Moreover, this impassive 

 and almost wooden look is enhanced in many cases by an even 

 layer of subcutaneous fat the result, probably, of emotional 

 stimulation of a constantly varying character. 



I am aware that many actors state that they do not consciously 

 experience the emotions which they simulate ; but from the very 

 fact that they are able, without taking thought, to adapt their 

 voices, gestures, and expressions to the sentiments they utter, it 

 is clear that the organic (sympathetic) nerves are moved if the 

 conscious ego is not, and, as we have seen, this is all that is re- 

 quired to influence trophic function whether in the face or else- 

 where. Miss Ada Rehan, who was kind enough to assist me in 

 clearing up this point, stated that, in rendering any particular 

 expression, she is quite unconscious of any deliberate effort of 

 the will. 



One consequence of the full exercise of all the facial mus- 

 cles, and of the trophic results of varying emotions, is a remark- 

 able interference with the time records which are usually so 

 visible on the human face. In fact, most actors maintain a 

 somewhat boyish aspect until late in life, although the sugges- 

 tion of callow immaturity is at times rather startlingly contra- 

 dicted by the expression of the eye. In ladies who adopt the 

 stage as a profession, a true youthful appearance is, as a rule, 

 much better maintained. Until the physiological principles 

 which account for the phenomenon are understood, it must re- 

 main a very puzzling fact that an actress's life should be more 

 favorable to the preservation of good looks, and even of girlish 

 freshness, than the life led by women who occupy their natural 

 sphere, and who cultivate (as they think) all physical and moral 

 virtues. A successful actress must work extremely hard, gener- 



