Even when what must be regarded as the vicious style of the writing school has been so thoroughly acquired that the writer ceases to be conscious that he is copying a model, the writing not infrequently reverts to a normal state and will then tend to show indications of inherited traits. Under ordinary conditions, where there has been no prolonged attention given to the form of the writing, as in conscious imitation or experimental alteration, and but little unconscious imitation, certain distinctive features may persist for a very long period. Thus the angle at which the writing slopes may remain practically the same for years, or the form of a particular slope beneath a signature will repeat itself almost exactly time after time, and even the absence of a flourish may become a significant characteristic. Emotional influences often have an effect upon handwriting, though the alterations thus produced are frequently only slight and temporary. Thus a man weighed down by overwhelming grief will often write in smaller characters than usual, while violent anger will find its expression in more vigorous cross strokes to the "t's," heavier dotting of the "i's," and the thickness of a flourish to a signature. On the other hand, slight changes caused by long-continued depression may leave permanent traces upon the handwriting. A deeply interesting historical instance of this tendency of handwriting to vary with the mood of the writer is to be seen in the signatures of Napoleon at various periods of his career. Several of these written on occasions calling forth widely differing emotions are here reproduced, and it is not difficult to discern in some of them the effect of emotional influence. Very striking, for instance, is the difference between the orderly signature written after the victory at Austerlitz and the blotted scrawl dashed off after the defeat at Leipzig. Nor will it escape notice that nearly all the signatures written at moments of depression or failure have a downward slant, whereas that of the victor of Austerlitz runs upwards. A great contrast, too, is shown between the general features of the first three signatures penned in moments of triumph or success, with that written on the retreat from Russia and the still less assertive signature of the prisoner of St. Helena. Instances of the effects of passing emotions upon writing might be multiplied indefinitely, but what has been said above is sufficient to show that this factor is of importance in drawing any conclusions as to the identity of an individual from his handwriting. [Illustration: SIGNATURES OF NAPOLEON AT DIFFERENT PERIODS OF HIS CAREER 1804. After being crowned Emperor. 1805, Dec. 2. Signature on proclamation after the victory at Austerlitz. 1806. After the campaign of 1806. 1812, Sept. 21. After entrance into burning Moscow. 1812, Oct. On the retreat from Russia.