i6o THE POPULAR SCIENCE MONTHLY 



Stevenson, Bayard Taylor (dark brown), William the Silent and 

 Chopin. The eyes of Eufus Choate, Alexander Hamilton, Fielding, 

 Sir Arthur Sullivan, Beethoven and John G. Whittier are described as 

 " dark," Whittier's being described by most biographers as black. 

 Hazel-eyed were S. T. Coleridge (given variously as hazel and gray), 

 Farragut, Albert Gallatin, Hobbes, Keats (hazel brown), Walter Pater 

 (light hazel, almost gray green), Southey (dark eyes, in youth light 

 hazel), Tennyson (gray, according to Caroline Fox). Black eyes 

 gleamed, according to biographers, from the brows of Caesar (by others, 

 however, spoken of as dark gray), Leigh Hunt, Paul Jones, John 

 Marshall, Peter the Great, George Ripley, Daniel Webster and John 

 Greenleaf Whittier. 



With Agassiz, Peter the Great, E. L. Stevenson and George 

 Washington, the eyes were set well apart, but precisely the reverse was 

 true in the case of Robespierre. The eyes of Browning, Charlemagne, 

 Coleridge, G. W, Curtis, Eugene Field, N. Hawthorne, Paul Jones, 

 Napoleon, Peter the Great, Shelley and Tennyson were large — betoken- 

 ing, according to the " Encyclopedia of Superstitions," a faculty for 

 talking and " for the use of effective language " ; whereas those of 

 Captain Cook, Patrick Henry, Ibsen, John Marshall, Tolstoy, Whit- 

 man, Chopin, Beethoven and Michael Angelo were small. As pos- 

 eessed of deep-set eyes — surrounded in the majority of instances by 

 high arching eyebrows — we have the names of George W. Curtis, Dar- 

 win, Stephen A. Douglas, Eugene Field, Fielding, Gladstone, Alex- 

 ander Hamilton, Patrick Henry, Huxley, Thomas Jefferson, Andrew 

 Jackson, Paul Jones, Landor, Thoreau, Tolstoy, George Washington, 

 Daniel Webster and Whitman. A profound power of observation 

 appears to link with these names — an impression made more marked by 

 shaggy eyebrows in the cases of Curtis, Darwin, Douglas, Jackson, Tol- 

 stoy and Whitman. 



Next after the eyes, perhaps, the feature of the countenance which 

 impresses the beholder is the formation of the jaw. Even before the 

 lines of the mouth this aspect of the face engages attention. By no 

 mere coincidence, doubtless, does a powerful jaw — the emblem of in- 

 domitable will — form the distinguishing marks of such physiognomies 

 as those of Carnegie, Stonewall Jackson, Frederick the Great, Chinese 

 Gordon, Grant, Alexander Hamilton, W. S. Landor, Walter Pater, 

 George Washington, Arthur Sullivan and Schumann, nor does it Beem 

 without significance that in the case of Robespierre " an InsuflBcient 

 development of the jaw " is noticeable, and that in the case of Michael 

 Angelo the " lower part of the face was much smaller than the upper." 

 Quite suggestive, moreover, of something primitive, akin perhaps to 

 ferocity, are the high cheek bones of the great navigators Columbus, 

 Captain Cook and Farragut, on the one hand, and Robespierre and 

 Daniel Webster on the other. 



