254 



SCIENCE. 



[Vol. XIX. No. 483 



no sharp turn or sudden increase of curve at either extremity. 

 The mouth is nearly horizontal or curving very slightly up- 

 wards at the centre. The lips in repose are firm hut not 

 compressed, and the upper one is well proportioned. The 

 chin is rounded, neither square nor pointedly oval. The 

 lines of the forehead are not usually conspicuous. The naso- 

 labial lines curve outward beyond the angles of the mouth, 

 less horizontally than with esophoria, and less vertically 

 than with exophoria. The curved line below the lower lid 

 is nearly in exact conformity with the curve made by the 

 fold of the upper eye-lid when it is moderately raised. 



The absence of special tensions of the facial muscles, in this 

 well-balanced face, permits a quick and easy play of the 

 features, and the habitual absence of any forcible regulation 

 of the eyes or of the face is conducive to a mental equilibrium 

 and to physical endurance. 



With esophoria (see Fig. 2) the brows are compressed, 

 often flattened. The extremities often curve suddenly down- 

 wards, the inner extremity sinking into the depression 

 bounded by the nose and orbital border. The eyelids are, 

 in a considerable proportion of cases, not as fully opened as 

 in orthophoria, and much less separated than in the typical 

 cases of exophoria. Two rather strong vei-tical lines making 

 each an angle with the inner extremity of a brow extend 

 upward nearly parallel, upon the forehead, as shown in the 



diagram. The upper lip is usually short, and the curve of 

 the centre of the mouth upward is often pronounced. The 

 lips are firmly compressed in repose, but in young persons 

 with deficient physical force, the lips may be habitually open. 

 The chin is broad and the naso-labial lines make a wider 

 excursion outward than in orthophoria. The expression in 

 moderate esophoria suggests firmness of character and reso- 

 lute purpose. 



With exophoria (see Fig. 3) the brows are usually strongly 

 arched, often drawn upward upon the forehead, the inner 

 extremity being often removed above and away from the 

 nose. The lines running upward from the side of the nose, 

 when present, are likely to diverge as they ascend. The 

 transverse lines of the forehead are often conspicuous and 

 are higher on the forehead than those which occur with 

 esophoria. The upper lip is long, the centre of the mouth 

 curves downward and the chin is pointedly oval. The 

 facial lines are more vertical than with either of the condi- 

 tions described, giving to the face the suggestion of length. 

 The lips are not compressed and are liable to be loose and 

 slightly open. 



The expression of exophoria suggests more of idealism than 

 of determinate purpose. 



Hyperphoria is characterized by irregular features (Fig. 4). 

 The tendency of one visual line to rise above the other de- 

 mands a restraining effort in which the facial muscles often 

 take an important part. On the side, the visual line of 



which tends to rise above the other, the brow is depressed, 

 while the brow of the side whose visual line tends downward 

 is elevated. Thus the brow and neighboring tissues of one 

 side aid in depressing the front of the eye, while, on the 

 other hand, by the elevation of the opposite brow less de- 

 mand is made upon the muscle which is required to rotate its 

 eye upward. 



These contrary actions demanded by the relations of the 

 visual lines in hyperphoria afi'ect the whole face, resulti ag 

 in a want of harmony of the two sides. The angle of the 

 mouth, on the side on which the brow is depressed, is drawn 

 upward, while the other angle is depressed. Thus one side 

 of the face is longer than the other. On ooe side, the lines 

 of esophoria are found, and on the other, those of exophoria. 



In the sketch here given no attempt has been made to de- 

 scribe all the various gradations between these types nor to 

 explain the exceptions. It has been the purpose of this com- 

 munication only to present the general characteristics of some 

 of the most typical forms of expression which have their origin 

 in the efforts to adjust the eyes. 



Geoege T. Stevens, M.D. 



New York. 



THE AECHITECTURAL EXHIBITION IN BROOKLYN. 



There is no question but that we stand upon the verge of 

 a great popular revival of interest in architecture. Architec- 

 tural books and magazines command wide circulations and 

 numerous purchasers. Vast sums of money are yearly ex- 

 pended in building — call it architecture if you will. Exhi- 

 bitions of architectural drawings have become regular fea- 

 tures of winter life in the larger cities. On all hands greater 

 interest is being manifested in the art than ten or twenty 

 years ago seemed possible. 



To Brooklyn belongs the credit of having supported the 

 only popular organization for the study of architecture in the 

 country. Professional and student bodies perform a very 

 different function than that which naturally belongs to an 

 institution resting upon non-professional and popular bases. 

 The Brooklyn Institute of Arts and Sciences, especially under 

 the direction of its present eflQcient head, Prof. Franklin W. 

 Hooper, has achieved a national reputation. Aq organiza- 

 tion that maintains forty-five distinct courses of public lec- 

 tures, numbering on an average 400 annually, must be reck- 

 oned among the most powerful intellectual forces in the 

 country, a power which is not limited by the fact that it 

 conflnes its operations to the city of Brooklyn. 



It is quite in keeping with the progressive policy of the 

 Institute that it should provide the citizens of its native city 

 with an exhibition of architectural drawings, which is note- 

 worthy not only as an evidence of progress on the Institute's 

 part, but as being the most ambitious attempt of the kind 

 yet made in Brooklyn. First attempts are always liable to 

 leave something to be desired, but the Brooklyn Exhibition, 

 which has just closed, was so good on the whole that little 

 fault may be found with it. On the contrary the gentlemen 

 having the matter in charge are to be thoroughly congratu- 

 lated on succeeding so well. Whatever faults may be found 

 with the exhibition are faults inherent in all architectural 

 exhibitions as a class, and are by no means limited to Brook- 

 lyn alone. 



And this chief fault is the matter of the exhibition. There 

 is no important subject on which such erroneous views 

 prevail as on architecture. This is a fact that requires no 

 argument. It follows as a natural consequence, therefore, 

 that every time the architects attempt to initiate the public 



