Physiognomy
physiognomy: the face or expression of a person, or the pseudoscientific discernment of character from the facial features
Physiognomie and chiromancie, metoposcopie... by Richard Saunders
London, 1653
Before the late 18th century physiognomy was associated with astrology, another pseudoscience. Metoposcopy, a form of physiognomy, was the art of divining a person’s character and fate from the wrinkles and moles on their forehead. According to the theory, each wrinkle denoted the influence of a different planet on the person. For example, a wart in the line of Mars, a planet associated with violence, revealed a violent person.
“Through this art, we have helped many friends avoid dangers and ascend to honours... I counselled a friend of mine to avoid the company of a certain ugly and unlucky man... at the end of the day, they were caught by the governor producing counterfeit money in a hide-out and shortly afterwards both ended on the gallows.”
- Giambattista della Porta, Coelestis physiognomonia, 1603
L'art de connaitre les hommes par la physionomie by Johann Caspar Lavater (1741-1801)
Paris, published 1820
While we still make judgements from faces today, in the early 19th century physiognomy was a widespread, explicit belief. Most people would be open about their distrust of people because of certain facial features, and references to physiognomy are found in many works of literature from the period. Lavater’s theory of physiognomy, originally published in the 1770s, attempted to make a science of earlier ideas. This book consists of commentaries on the works of earlier physiognomists, anecdotes, rules, and instructions for creating and analysing silhouettes. It is full of illustrations of “Persons to be avoided”, diagrams of facial shapes, and analyses of famous faces.
Below: Illustrations of people and their percieved personalities according to Lavater's theory, from an English translation of his works.
"The eye is stupid, as is the whole countenance."
"Unbounded avarice, unfeeling wickedness, knavery unequalled."
"Benevolently stupid."
"The nose I consider as a determinate token of calm fortitude, and discrete, benevolent, fidelity."
"Eyes of dread, combined with cruelty and abhorrence, appertaining to the weak and wrathful chaaracter."
"Neither hero, mathematician, or statesman: a rhymer perhaps, or a wrangling lawyer."
"The countenance of a hero - active - alike removed from hasty rashness and cold delay. Born to govern. May be cruel, but can scarcely remain unnoticed."
"A man of mind, but unpolished, without reflection. I may pronounce this character rude, peculiar, with the habits of an artist."
"The form of the forehead, though feminine, is as manly as a female forehead can be. How conspicuous in eyebrow, eye, nose, mouth and chin, are faith, worth and the incorruptibility of the noble chracter!"
"The nose indicative of household discretion, the eye sharply attentive, the mouth kind, but strictly economical... all the wrinkles express good sense, confined within a small domestic circle."
"How much more voluptous is this hair! How does it correspond with the sanguine, productive, entreating, powerful, and easily active countenance!"
"A capacious and extradordinary woman... if this nose does not produce something uncommon, and if this eye has not its moments of genius, then I will renounce all pretensions to physiognomy."
