Here again we must encounter our old friend the normal slope of hair. As I stated in 1903, “The normal arrangement of the hair on the eyebrows of a moderately hairy subject is as follows: in the middle line the hairs of the two sides tend to meet and form a somewhat confused group of hairs; passing away from the middle line the hairs assume a nearly sagittal direction, then become more sloped away, and a sharp change in the direction of the _frontal_ and _orbital_ streams brings the remaining hairs into that regular accurate arrangement of a united stream so characteristic of a hairy subject, and this passes along the superciliary ridge to the external angular process”--all of which can be seen at a glance by any one who looks closely enough, as with the eyes of a lover, for example, at the brows of a dark-haired maid or youth. In the young these hairs lie close to the skin, and with that very interesting group of persons we have no more to do here, except for one piece of practical advice to them which they will find at the end of the present chapter. Evidence from Artists. More than one kind of evidence may be brought forward in this case, and I propose to “put in” a certain class of witness that not the most acute cross-examining counsel, Daniel O’Connell, Hawkins, or even Sergeant Buzfuz, can shake. I pity that young man or woman to-day who has not mended several holes in his education by reading the books of Dickens and Lever in editions illustrated by the immortal Phiz. If I do no more for him by this passage than induce him to mend such holes I shall have been of some use to his mind. For my part I look upon Phiz as far superior to Hogarth or Cruikshank in the fidelity to nature of his drawings of the faces of his numerous characters, especially the old men. Look through _Dombey & Son_, _Bleak House_, _Pickwick Papers_, _Barnaby Rudge_, _Tom Burke_, _Jack Hinton_, _Harry Lorrequer_, _The O’Donohue_, and, perhaps best of all for the illustrations, _The Knight of Gwynne_. Examine, with a lens if necessary, the delicate way in which Phiz shows the projecting hairs on the eyebrows of his many elderly men, and note at the same time the truth to scientific fact which he shows in his _female_ characters, for only in the drawings of “Mrs. Gamp proposes a toast” and of Mrs. Pipchin in “Paul and Mrs. Pipchin,” and one or two doubtful instances, can I find that he represents even his elderly women with this feature of their eyebrow hairs. But see Captain Cuttle and Mr. Bunsby in “Solemn references to Mrs. Bunsby,” both with strongly-marked shelves of hair sticking out from the brows, Captain Cuttle in “The shadow in the little parlour,” one of the fat coachmen in “Mr. Weller and his friends drinking to Mr. Pell”--the sharp brush projecting from the brow of Bagnet in “Mr. Smallweed breaks the pipe of peace,” that of Vholes in “Attorney and Client, fortitude and impatience”--(the equally remarkable absence of