The St. Louis Republic., 1902-01-05
HAND

row. He abhors strife. cruelty. war an
bioodshed in all their myriad forms Tn
a SenSe Of I propsr or h9arhinE hn Z impulse 1na III
/ slcrcer. straight rose and the upwar
! curving of the thumb. all betoken the re
! verse of the commercial instinct He wi!
| save money only from motives of genera
| prudence. Secretveness is also only moder
ate. though from lack of interest in the
| art Of conversation he will often appear
moro noncommittal than he means to be
| At heart he Is far from cunning. and
Wh'n he does Steak he is disposed to say
exactly what he thinks. Cautiousness
| how ever. is very marked. He is careful
| guarded and cons.derate in everything. H.
has not only the sense of impending dan
ger. but The kird of intelligence that look:
ahead and provides for safety. The latter
| quality is shown IN the squareness of tbs
upper crehead and in the lowering of th'
eyebrows
Resemblance to Maude Adams.
The top of The head is both high and
broad All the moral sentiments are finely
represented. especially conscientiousness
ard benevolence Ffrmness. on a line with
the ear, Is also large, but just back of
that region: at the seat of self-esteem,
there is a slope.
He is naturally difrident, and likely to re-
main modest in the face of the greatest
success. The love of appreciation is more
influential. but in view of his phenomenal
career it is very temperate. and he mani
tests ii on the negative side rather than
the positive-that is. he is more sensitive
to blame than eager for applause. He ~
ambitious to excel. but more from love Of
his art to gain wealth or fame.
His face is n curious composite of nu-
:ncrous past and present celebrities. The
resemblance 10 Beethoven is startling.
visage of Murillo. and when his lips are
slightly parted, as they usually are In mo-
ments Of repose. he Is a veritabie double
of Maude Adams In Il Aiglon."
Might Have Been Painter.
The deep-seated eyes .betray an unde-
veloped memory of words and lack OF
eoquence in speech. The distance between
the eyes. however denotes excellent JudS-
ment and memory of form. This is an i'm
portant element in the talent for reading
music. and is essential TO sculptor or
painter.
The arch in the center of kubelik's eye
brows with his peculiar temperament, be-
speaks most vivid appreciation OF color
His forehead bears all the marks of a born
painter as well musician. and he himself
believes he could have handled the brush
as skllfully the bow
Eyebrows Indicate Ability.
The inner ledgelike projection of the eye
brows shows great ability to estimate size
and weight-the secret of much Of his dex-
terty on the voiln-but the narrow space
and depression. as well as the retreating
septum between the nostrils. signify want
of specific observation. He cares hut little
for details outside of his special studies. and
his logic will suffer from incomplete an
alysis.
His middle forehead is also slightly con-
cave at memory of events. He would never
be a brilliant ranconteur. But in the fuliness
of the upper forehead he carries the stamp
of a deep thinker. He is synthetic and de-
ductive reasoner. Scarcely any subject
would be too metaphysical or abstruse to
awaken and retain his interest.
The foreheads of all eminent musicians
are conspicuously expanded at the temples
In Kubeik the diameter is equally great in
the lower portion at constructiveness and in
the middle portion at the seat of music. and
is still higher at ideality, or the love OF
beauty. The first of these confers the i'm
pulse to employ a mechanical vehicle of eX-
preston. the second gives the sense and
of musical tones. while the third in
spires the love of perfection. which is funda-
mental to all forms of art.
Then the perceptive faculties of size and
weight. already mentioned. enable the viO-
1inist TO measure the spaces on the finger
hoard and to contro. with delicate preci-
sion the infinitely varied movements and
pressures of the how.
EDGAR c. BEALL, NJ. d.