able that Turner might have been a much more presentable man, though possibly less famous, had he devoted himself to figure painting.
Actors' and actresses' faces are of great interest to the physiognomist. An actor's art must of necessity involve the stimulation of both the muscular and trophic factors of expression. Not only has he to emphasize the facial movements which are appropriate to his part, in order that his expression may be plainly seen by the pit and gallery, but he is as a rule obliged to change his role frequently, and to assume a succession of characters requiring very different facial renderings. As a result, all his expression muscles are exercised as thoroughly as are the body muscles of an athlete who is undergoing a systematic course in a gymnasium. Hence in a typical actor's face, when seen at rest, no one group of expression muscles outpulls the others, and as a consequence of this state of muscular balance there is about it a peculiar aspect suggestive of a mask. Moreover, this impassive and almost wooden look is enhanced in many cases by an even layer of subcutaneous fat—the result, probably, of emotional stimulation of a constantly varying character.
I am aware that many actors state that they do not consciously experience the emotions which they simulate; but from the very fact that they are able, without taking thought, to adapt their voices, gestures, and expressions to the sentiments they utter, it is clear that the organic (sympathetic) nerves are moved if the conscious ego is not, and, as we have seen, this is all that is required to influence trophic function whether in the face or elsewhere. Miss Ada Rehan, who was kind enough to assist me in clearing up this point, stated that, in rendering any particular expression, she is quite unconscious of any deliberate effort of the will.
One consequence of the full exercise of all the facial muscles, and of the trophic results of varying emotions, is a remarkable interference with the time records which are usually so visible on the human face. In fact, most actors maintain a somewhat boyish aspect until late in life, although the suggestion of callow immaturity is at times rather startlingly contradicted by the expression of the eye. In ladies who adopt the stage as a profession, a true youthful appearance is, as a rule, much better maintained. Until the physiological principles which account for the phenomenon are understood, it must remain a very puzzling fact that an actress's life should be more favorable to the preservation of good looks, and even of girlish freshness, than the life led by women who occupy their natural sphere, and who cultivate (as they think) all physical and moral virtues. A successful actress must work extremely hard, gener-
