even go further in attaching a false and slanderous label to the countenance, owing to the interlocking mechanism of emotion, passion, and nutrition, above alluded to.
Doubtless some of my readers have chanced to contract a black eye in a perfectly innocent and unpugnacious manner. Let us suppose, for the sake of argument, that it resulted from a sharp return across the tennis net. Until the last of the dismal tints fades away, such a one bears about with him one of the most generally accepted proofs of a hasty disposition and of a blackguardly encounter. Yet the victim himself—and each of his friends who will believe his statement—knows that not only is he innocent of a breach of the peace, but that, when he received the ugly mark, he was engaged in one of the most amiable of recreations.
Now in like manner, certain popularly received evidences of a bad moral record may be printed accidentally from within. For the molecular impulses welling forth from a disturbed emotional center may chance to flow along channels usually occupied by less innocent currents, and may produce an expression nearly identical with that which accompanies some form of vice. And yet, all the time, the said emotion may be as essentially distinct from the travelers which usually follow the track, as were Bunyan's Pilgrims when they walked the streets of Vanity. In such a case it will be seen that, in spite of outward appearance 5 not only is there no guilt, but there may be also a complete absence of evil inclination.
To return from what I fear may be regarded by some as a rather arid and metaphysical region, let us take stock of the typical characteristics of the musician, the priest, and the sensualist, who have so oddly foregathered in the interests of science. Physiognomy, it will be seen, like misfortune, makes strange bedfellows.
To get our typical musician, we must, to some extent, follow the example of the society caricaturist. That is, we must generalize, after the fashion of a composite photograph, and then slightly magnify the traits which are found to be common to most members of the class. Probably professional singers approach our ideal most nearly, because the mastery of the technique of voice music involves fewer disturbing influences (from our point of view) than does the mastery of any complex external instrument.
The average musician's face shows but little trace of muscular activity, but evidences of trophic changes due to sympathetic disturbance are abundant. The skin, especially beneath the eyes and about the throat, tends to be full and baggy, and is often filled out with local accumulations of fat. As a rule, the eyes
