THE EYES AND EYEBROWS. Blue eyes are generally more indicative of weakness and effeminacy than brown or black. Certainly there are many powerful men with blue eyes, but I find more strength, manhood, thought with brown. Choleric men have eyes of every colour, but rather brown or greenish than blue. A propensity to green is an almost decisive token of ardour, fire, and courage. Wide open eyes, with the white visible, I have often observed both in the timid and phlegmatic, and in the courageous and rash. Meeting eyebrows were supposed to be the mark of craft, but I do not believe them to have this significance. Angular, strong, interrupted eyebrows denote fire and productive activity. The nearer the eyebrows to the eyes, the more earnest, deep, and firm the character. Eyebrows remote from each other denote warm, open, quick sensations. White eyebrows signify weakness; and dark brown, firmness. The motion of the eyebrows contains numerous expressions, especially of ignoble passions. THE NOSE. I have generally considered the nose the foundation or abutment of the brain, for upon this the whole power of the arch of the forehead rests. A beautiful nose will never be found accompanying an ugly countenance. An ugly person may have fine eyes, but not a handsome nose. I have never seen a nose with a broad back, whether arched or rectilinear, that did not belong to an extraordinary man. Such a nose was possessed by Swift, Caesar Borgia, Titian, etc. Small nostrils are usually an indubitable sign of unenterprising timidity. The open, breathing nostril is as certain a token of sensibility. THE MOUTH AND LIPS. The contents of the mind are communicated to the mouth. How full of character is the mouth! As are the lips, so is the character. Firm lips, firm character; weak lips, weak character. Well-defined, large, and proportionate lips, the middle line of which is equally serpentine on both sides, and easy to be drawn, are never seen in a bad, mean, common, false, vicious countenance. A lipless mouth, resembling a single line, denotes coldness, industry, a love of order, precision, house-wifery, and, if it be drawn upwards at the two ends, affectation, pretension, vanity, malice. Very fleshy lips have always to contend with sensuality and indolence. Calm lips, well closed, without constraint, and well delineated, certainly betoken consideration, discretion, and firmness. Openness of mouth speaks complaint, and closeness, endurance. THE CHIN. From numerous experiments, I am convinced that the projecting chin ever denotes something positive, and the retreating something negative. The presence or absence of strength in man is often signified by the chin.