H 1 \vtfi-.v ■ LIBRARY OF CONGRESS °oo57flb5«na SW Class L_ Book i Copyright ft CQEXRJGHT DEPOSm APPLIED GRAPHOLOGY A Textbook on Character Analysis r r om Handwriting For the Practical Use of the Expert, the Student, and the Layman Arranged in Form for Ready Reference To which is added an Appendix containing a Complete Compilation of the Qualifications, Traits, Habits, and Propensities of Individuals, with Definitions and Graphological Interpretations Illustrated with over JOO Specimens By Albert J, Smith Graphologist THE GREGG PUBLISHING COMPANY NEW YORK CHICAGO BOSTON SAN FRANCISCO LONDON <%<" ^ Copyright, 1920. by The Gregg Publishing Company Jsa vt >2 §)CU6040G4 GRAPHOLOGY 111 TABLE OF CONTENTS Preface v Introduction I Rules for the Student 4 The Elements of Graphology 7 Features and Terms Used in Handwriting 8 The General Features: Style: Angular, Round, Combination Writing 8 Slope: Forward, Vertical, Backhand 10 Size: Small, Medium, Large Writing 11 Stroke: Heavy, Fine, Muddy, Shaded 14 Form: Copperplate, Conventional, Inartistic, Ornate 18 Speed: Hasty, Slow, Uneven, Uniform 20 Spacing: Crowded, Compressed, Diffused, Well Spaced, Not Well Spaced 24 Lines: Straight, Ascending, Descending, Irregular 27 Margins: Right, Left 33 Terminals: Abrupt, Outward, Upward, Downward 35 Punctuation: Carefully, Carelessly, Absence of, Dashes, Words Under- scored 37 Capitals: Large — Ornamented — Incurved — Plain — Heavily made — When print-like — Too large — Too small — Slender — Capitals M and N 40 Signatures: When plainly written — When dissimilar to text — When smaller than body — When larger than body — When backhand, body forward — When forward, body backhand — With complicated flourishes — Elaborate flourish — With underlined stroke — Underscored with flourish — Underscore is thick straight line — Underscore is two straight lines — Lnderscored with curved lines — Underscore ending with hook — Underscore beginning and ending with hook — Underscore is vertical zig-zag lines — When enclosed with sweeping stroke — Lack of flourish — Flourish at top — Wavy curved flourish — Period or dash after signature 47 The Special Features: Abducent and Adducent Writing 50 Connected, Disconnected Letters 51 IV G R A l'HOLOGY Increasing, Decreasing, Variable Size of Letters 54 Touched up Letters 55 Initial Strokes: Letters begin with initial stroke —Begin with little tick — With hook -With curved or fancy stroke— With inflexible stroke ... 56 Muddy Writing 57 Small Letters Pointed at Top; Small Letters Rounded at Top 57 Divergent Letters 58 Loop Letters: When more developed above than below line — When more developed below than above line -When well developed above and below — When long and extending to line below — When lower upstrokes curve well to left -When long and rounded— When inflated — When made stroke — When stroke is heavy — / loop very round and inflated—/ with return stroke to left—/ with lower part stroke, not looped — / looped to right — g made like figure 8 — g made with lower loop triangle — ; g ending in stroki — g return stroke to right — g very long loops -y with flourish within loop — Lower loop triangle — Ending in Btroke -Return stroke to right 58 Individual Small Letters: a, 0, d, g, when open at top — When closed at top — When tops are loo|>cd — When open at base 64 /> — When incurved —When without loop — When beginning with tiny hook 65 d — When made with high stem — With short stem — The Greek form- When final stroke curves upward — When curved upward and back- ward — When curved upward and back, joining the succeeding letter — When cursed upward and to right — When curved upward and ending in spiral curl — When stem is looped — When stem is inflated — When final stroke ends below the line — When the stem is divided at base — When stem is pointed 66 e — When in the Greek form 70 • — Wlien undotted — (7 included) — When the dot is at right — When the dot is high to right — When dot is at left — When dot is close to stem — When dot is lightly made — When dot is heavily made — When dots are made like small circles — When dashes are used for dots 70 m and n — When made like u< and u 74 When not written like w and u 74 p — When lower loop is long and sweeps up on left of letter — When long above and short below — When short above and long below — When lower point is sharp and upstroke is on right of stem 74 5 — When the finish of the letter is tied to the upstroke 75 t — When the stem is carefully crossed — When heavily crossed — WTien weakly crossed — When bar is to right of stem — When to the left — When bar ascends — When bar descends — When final stroke GRAPHOLOGY is below the line — When the crossing is in form of a triangle — When the stem is looped — When the stem is pointed — When the stem is open at the base — When bar is high above stem — When the stem is uncrossed — When crossing is made with angular final upstroke — When the bar is irregular — When the bar is thick and regular — When the bar is long and fine — When the bar crosses several letters — When the bar is thicker at finish than at start — When sometimes long, other times short — When the bar flies into the next word — When the bar is made stronger than the stem — When the bar is crushed down on the stem — When the bar is very long and strong — When the bar is club shaped — When the bar is spear shaped — When the bar is made like a bow, with ends downwards — When bar is made like a bow, with ends upward — When bar is wavy — When bar is arrow-like — When bar is dot-like — When bar is scroll shape — W r hen bar is pointed at finish — When bar ends with hook — When bar is like whip-lash — When bar is flourished— When bar is substituted by looped triangle low down on stem — when the crossing is made triangle, high up on stem 76 A Specimen Analysis 86 Signatures of Distinguished Persons 91 Signatures of Men More or Less in the Public Eye 93 Signatures of Musical Celebrities 95 Signatures of Prominent Actors, Actresses, Musicians 98 Signatures of Representative Vaudeville Artists 100 Anomalies of Handwriting: Abnormally Large Handwritings 105 Handwritings of Misfit Bookkeepers 107 Insanity and its Variations 11 1 Crooks, Thieves, and Degenerates 115 A Specimen of Illiterate Handwriting 116 How Writing Developed from Pictures 118 Chinese Writing 5000 Years Ago 119 The Signature of "Bluebeard" 120 The Signature of Napoleon 120 Picture Writing up to date 121 Early Babylonian Script 122 Record of an Analysis of Handwriting 123 PART II Appendix: Foreword 125 Alphabetical arrangement of the Qualifications, Traits, Habits, and Propensities of Individuals with Definitions and (iraphological Inter- pretations 126 GRAPHOLOGY Vll PREFACE "The French scholar Lemaire, once said, in discussing the possibilities of graphology: "It is a profound mistake to sup- pose that everything has been discovered; it is the same as to consider the horizon to be the boundary of the world." When I began analyzing character from handwriting more than twenty years ago, I had to contend with cases where clients questioned the correctness of my analyses. A careful investi- gation convinced me that the erroneous conclusions were based on an incorrect understanding of the terms used to express the shade of meaning intended. Had these critics acquired a better knowledge of definitions, their criticisms would have been unnecessary. These experiences inspired me to write this book. All graphologists aim to use definite terms to express the shade of meaning intended, fitting generic or denotative expres- sions to the particular requirement of the case. The skilled graphologist, with a keen understanding of defini- tions, will write his delineations in cheerful and pleasing terms, and will avoid all stinging references, to soothe sensitive minds, even though they may be justified. The analyst who ad- heres to the truism: "to be interesting, one must tell the truth audaciously," may find it more expedient to be less frank, if he would retain the good will of sensitive clients. This book has been written with especial consideration for the student and the business executive. The manner of expression is left optional with those who prefer a modification of terms, without detracting from its effective purpose. The habits, traits, and qualifications listed in the appendix, have been carefully selected to meet every demand. For each there is a corresponding graphological sign. The definitions that accompany these terms are authoritative and express the proper shade of meaning, from a graphological standpoint. viu G R A P li o LOG v Unlike most books written on this subject, this volume is little more than a handbook or a textbook, with simple rules and data that define and explain the science of graphology, its relation to the mental processes, and the existing phenom- ena of handwriting by which one who has become adept may form a fairly correct estimate of the character, propensities, and proclivities of individuals, whose aptitudes, tastes, and talents are revealed. No attempt is made to convert any one to its principles. The investigations of scholars for over four hundred years are suffi- cient evidence to sustain its claims. The dependability of ( .raphology rests on its skillful use and proper application. Its reliability as an index to character is indisputable, for "It is not so much what society believes about it, as what society knows about it." GRAPHOLOGY INTRODUCTION A person who is able to write, unconsciously performs this function without realizing the mental and physical effort re- quired to form the letters or characters which were taught him at school. It is a manual operation performed spontaneously, without regard for the complex processes of mind, muscle, and nerve force involved. A person's handwriting is really a part of himself; it becomes a habit, a second nature. This is why individuals are, and have to be, themselves w r hen they write. Handwriting serves as a means for the expression of thought. It is the outward manifes- tation of one's personality, and it is fully as characteristic as one's manner of walking or tone of voice. Investigation and experience have demonstrated that not one person in one hundred thousand writes the same style of hand he was taught at school, five years after leaving school. The reason for this modification of style is that after leaving school the individual assumes responsibilities that change his mode of thinking, which in the course of his adopted vocation make it necessary for him to write hastily with total disregard for the tutored style he was taught at school. In a short time he drifts away from his school hand entirely, and unconsciously begins to write in a manner best suited to his convenience. Wit h the development of business training, this variance of style becomes fixed, as long as his individuality remains unchanged. All features in handwriting are in terpre table. Each reflects some trait or quality. As every one has a unique personality, so also, does he write differently from every other. This suggests the reason why there are no two handwritings exact ly alike. Handwriting forms an intimate revelation of the inner processes of mental attitudes and emotions; in a word, it con- stitutes the expression of one's personality and moods. Nature in her wisdom has endowed man with intelligence that enables him to give expression to his impulses and emo- GRAPHOLOCY tions, according to his individuality. These variations of mind- impulses provide the individual with the means for expressing likes and dislikes, which eventually form habits. These habits make character. And thus it is, that by exhibiting these various emotions in a greater or less intensity, individual temperaments are reflected in handwriting. Style of handwriting changes with age. A man at fifty may not write the same hand that he did at twenty or thirty years of age, and should he live to be eighty or ninety, his chirography would in all probability show further indications of change. These modifications in the script will indicate that changes in the impulses and emotions have occurred. No one can successfully disguise his handwriting. When an attempt is made to change the style of writing, the slope is the first thought that suggests itself as a means for shielding iden- tity. Should the normal hand slope to the right, the most likely variation will be to write "backhanded,* on the theory that this slant is the remotest in appearance from the natural hand. This change from the right hand to the backhand may deceive the uninformed; it may alter certain unimportant features in the writing; but it cannot deceive the expert, because the graphological features have not been affected, leaving the tell-tale markings. The appearance of the writing may have changed — due to the slant of the strokes, but the analysis will reveal the same characteristics in the writing, whether written with design or to rest the muscles of the hand, thus enabling the graphologist to detect the sham. Every natural movement of the hand has been recorded, making futile the effort to veil the identity of the writer. Change of pens will not alter the distinguishing character- istics of handwriting, any more than a change of attire will change the personality of the writer. Every one instinctively choses a style of pen that best suits his convenience in writing, and this adopted style of pen enables one to write in a manner most natural and with less effort. GRAPHOLOGY The skill of the graphologist is determined by his ability to neutralize the signs ; the purpose being to estimate the strength or weakness of a sign. This balance of "credits" will determine a fixed habit from one that is occasionally displayed. The student should make himself familiar with the elements of graphology, in order that he may gain a knowledge of the basic principles of the science. Study and commit to memory the rules, without which no successful results are possible. At the beginning the student will meet with many different speci- mens of handwriting, some of which will show conflicting signs. If proper weight is given to each sign, by deductive measures any conflicting sign may be overcome. Before any attempt is made to interpret the character of others, the student should practice with specimens of his own handwriting, analyzing and delineating from them until he is able to check up every phase of his character from the script. Advancement may be tried with the handwriting of intimate friends, conducting it in the same manner as with your own. Further advancement should be tried with the handwritings of casual acquaintances, checking up those traits known to you, and trying to verify those that are not at once apparent, by association or inquiry. But whatever you do, remember that no one but yourself is deceived should you undertake to dis- count your shortcomings or exaggerate your good qualities. The student should be careful to select the proper word to express the meaning intended. If you mean accuracy, do not use the word precision. Consult the appendix for the definition of the word you wish to use; this will give you the shade of meaning. Do not credit a person with being religious when you should have declared that the writer was spiritually inclined. There are no known signs that would imply religiousness unless it be one of the characteristics of disconnected letters in writing. Use judgment and common sense, and stick to the rules. With practice, one may soon become a careful enough analyst for all practical purposes. GRAPHOLOGY RULES FOR THE STUDENT Examination of thousands of specimens of handwriting in all languages, by masters and students of graphology, sup- port the conviction that there are no two handwritings exactly alike. In fact, no two agree any more than two personalities have the same potential qualities, or two facial expressions are alike. There may seem to be similarities, but on recourse to an analysis, the similarity is effaced. These rules should be carefully committed to memory, as on a thorough understanding of them depends the accuracy of a delineation. The rule that applies to "neutralizing" the signs, is the graphologist's standard. RULE No. I. Some handwritings show practically no character, for the reason that the character of the writers is quite elementary. No more can be deduced from this kind of specimen than the specimen reveals, and the student must confine himself to what he finds and make no pretense to enlarge upon it, or to be influenced by deductions. RULE No. 2. An ideal specimen for analysis is one written in black ink, on unruled paper, and containing not less than five lines. Although much can be often interpreted from a single line, it is always best to get all the writing of the person available. Rule No. 3. An envelope is not satisfactory for analysis, as it is usually addressed with some degree of care. The inscription is therefore not spontaneous, and does not show as many signs, nor show them as truthfully as a written page. Rule No. 4. The finest delineations are made by combining char- acteristics, and this is imperative if the work is to be accurate. The rule is: If two traits seem to oppose each other find their relative strength and from it deduce the resultant charac- teristic. GRAPHOLOGY Rule No. 5. Never read the subject matter of a specimen before making the analysis; at the beginning, the student will be tempted to do so, and may find it difficult to avoid. The tendency is to defeat the purpose and is likely to bias the judg- ment or adherence to rule. Rule No. 6. Left-handed persons do not write "backhanded" simply because they are left-handed. Most left-handed persons can use either hand, and write a forward style of chirography with one hand as well as with the other; this upsets the general belief that left-handed writers pen the backhand because they are left-handed. Rule No. 7. Distinguished men and women frequently write very bad hands. All professional men and women write bad hands. The greater the intelligence of a writer, the easier it is to in- terpret the writing. Rule No. 8. The most difficult specimen of handwriting to analyze, is that of the illiterate writer. This rule is nearly akin to Rule 1. Unless the features are clearly indicated and analyzable, it is recommended to limit the delineation to the merest generali- ties, using the most marked characteristics in the script, or else decline it for analysis altogether. Rule No. 9. A sign occasionally displayed indicates an occasional trait, and must not be elaborated upon. Rule No. 10. Any sign in a specimen may be strong or weak, plen- tiful or scarce. Rule No. i i. If a letter is given for analysis, the writing on the last page will be the most natural. Rule No. 12. A sign displayed occasionally, but strongly marked, indicates an occasional trait that is evident when aroused Rule No. 13. A sign frequently displayed indicates that it is a regular trait of the writer. When the sign is frequently dis- played and strongly marked, it indicates a strong habit, and may be made the subject of positive assurance. Rule No. 14. There is no definite rule by which the chirography of the sexes can be distinguished, because there is HO sex in mind. GRAPHOLOGY However, it is usually not difficult to distinguish the sex in handwriting, for the writing of women is characteristic, as a rule, and is generally recognizable. Modern business training has given to women the masculine dash in handwriting, and may deceive the student as to the sex. The only advantage in knowing the sex of the writer, is that it enables the student to give more definite details, with certain modifications for the significations of the features according to whether they apply to a man or woman. Should it become necessary to know the sex of the writer, this information should be frankly asked for at the time of taking the specimen for analysis. Rule No. 15. The student should provide himself with a small magnifying glass H)r examining individual strokes and dots. GRAPHOLOGY THE ELEMENTS OF GRAPHOLOGY These are the basic elements of handwriting, briefly defined for the convenience of the student, that he may determine at a glance the general significations as an aid to ready analysis. The size of writing The slope of writing The lines of writing The shape of writing The thickness of the stroke The spacing of words and lines The speed of writing The finals in words The capital letters The punctuation marks Signatures Flourishes Connected letters Disconnected letters Down strokes that are firm Down strokes that are weak Down strokes that are lightly made Down strokes that are heavy Down strokes that are muddy Tops of small letters that are sharp Tops of small letters thai are round When base line is irregular When base line is even When base line is wavy Signifies details Attends the affections Denote the spirits Determines the intellect Relates to the senses Determines the breadth of mind Is indicative of the energy Determine the degree of generosity Measure the individual's taste and pride Relate to the amount of attention, care, and culture These are the individuals' mark of importance Indicate superficiality Denote logical reasoning Denote intuition Signify will power Signify weak will Denote spirituality Indicate masterfulness Sensuality, materialism Keen perception Dull perception Adaptability Menial balance Hypoi i i \ GRAPHOLOGY FEATURES AND TERMS USED IN HANDWRITING WITH THEIR SIGNIFICATIONS The graphological terms and their indications that appear under this caption have been compiled under two classifications, the General and the Special Features of handwriting. They are repeatedly used throughout this work and should be well understood by the student. The General Features of hand- writing include- the rudimentary or basic principles of writing, which alone are not competent for analysis! The Special Features refer to those elements that are interpretable, and to which the General Features are subordinate. The General Features of handwriting include: style, size, form, slope, spacing, lines, strokes, and speed. The Special Features include: the down strokes, cross strokes, loops, mar- gins, terminals, hooks, and the small letters. The. capitals, figures, punctuation, and signatures arc contributing factors, having significance only when associated with a written specimen; the signature, however, is interpretable when spon- taneously written. Signatures are not always reliable material for analysis, apart from the text. THE GENERAL FEATURES STYLE Style of handwriting relates specifically to the formation of the letters and the manner of placing them on the lines. It considers the general appearance of the writing, and has no connection with the signs and their analogous traits. Under this classification, are included three forms of writing, the angular, the round, and the combination of these two styles. As a matter of fact the several fea- tures that follow this classification, are, in a greater or less degree, expressions of styles to which this section is subordinate. No one GRAPHOLOGY writes the angular hand from choice; neither is the round hand chosen; they are habitual manifestations of individualities, the same as lisping or stuttering. A man writes the angular hand be- cause his activities of mind and nerve force direct the strokes spon- taneously ; this is equally true of the round hand. The combination hand is a modification of the nerve functions, which induce a more tranquil hand. The angular hand is never written slowly. The round hand, when penned fully round, is never written rapidly, but the combination hand may be hastily or slowly written. Angular Writing This style of writing consists of Denotes activity; nervous, quick, sharply formed strokes with the tops and energetic disposition. Mental and base of each letter pointed. alertness and physical restlessness. Round Writing The top, and occasionally the base, Denotes construct iveness and order; of each letter is rounded, not tastes denoted are mechanical with pointed. When the tops of the strength, deliberation, clearness of con- small letters are pointed, and the ce P tion ' £ ood Judgment, coolness, base is rounded, the writing is ^teadmess, thoughtfulness, and a prac- tical, patient, and resolute character abducent, having nearly the same value as the angular hand. exhibited. Combination Writing The angular hand, tending to the Not naturally industrious; loves peace. round, and vice-versa. rest » and enjoyment. Nature more or less passive. Little power of resistance. I(> GRAPHOLOGY THE SLOPE The slope of handwriting has reference to the declination of the down strokes. There are three forms of slope: the right slope, that has to do almost entirely with the affections; the vertical, that marks an indifference to affection; the backhand, which in a certain sense, is a modification of the vertical hand, and always indicates cold heartedness. In judging the extent of the slope, the sex of a writer should l>e ascertained, for what might be considered as an excessive slope in a man's writing might not lie so regarded in a woman's. As affection is one of the most universal traits of char- acter, tlte great majority of persons slope their writing to the right, and as there is no sex in mind, it is obvious that the difference in the expression of affection, must be revealed in the impulses, which are Stronger in women than in men. Men live more by their head and le^s by their heart than women, and these variations of impulse are evident in handwriting. The student is warned not to judge the backhand writer too hastily, as certain modifications of this style of handwriting are taught in libraries for use in indexing and labeling. This librarian style is easily distinguishable from the spontaneously- written backhand, and must not be confused with it. The Forward Slope The normal slope in writing is about 70 degrees to the right. This is the usual slope in all scripts of the Teuton and Roman forms of writing. C^^^t^tA (a) A personality in which the emotions, feelings and rympathies govern, (b) Al- ways susceptible to sentiment and largely guided by the impulses. Amen- able to the common influences of life. z£ Zz^k^*>y^ When the writing is very sloping. Extremely affectionate, generous, and self-sacrificing. Inclined to be impul- sive, animated, and demonstrative. GRAPHOLOGY I I [nju Vr jujyh t^ c^h^^^S^ dUtk tb- ^v^y^v^- y^ru^i Vertical Writing The upright or perpendicular stroke. (a) Judgment and reason enter into all motives and actions. Whatever is done is tempered with self-restraint and deliberation. (6) Slow to move, does not arrive at decisions hastily: does not like to be hurried, (c) Gener- ally determined and obstinate. (d) Sincere, constant, and loyal. Y» £jPV*Wm • »«^C *A4«*t Backhand Writing When all the strokes slant to the left. (This classification excludes the librarian's backhand, which is arbitrary and used for indexing and labeling.) (a) Reason and self-interest are the governing motives. Natural reasoner and schemer. Self-conscious nature. Seldom does things impulsively; thinks first of the consequences, (b) Indicates ability in some direction; originality and self-reliance, (c) Not charitably inclined, (d) Little regard for author- ity; aptitude for executive and admin- istrative work. Good leader — poor follower, (e) Generally quiet and re- served nature; does not become enthu- siastic or excited. (/) Inclined to be artful and insincere; statements are not always to be taken seriously, (g) If other signs agree, a suspicious nature. THE SIZE OF WRITING The Size of writing ranges all the way from the almost micros* op- ical to the inordinately exaggerated script of the egotist. About one- eighth of an inch in height is considered the natural size of writing. There are three sizes of writing: The small, the medium, and the 12 GRAPHOLOGY large. What is meant by small refers to the height of the letters, as the wideness or narrowness of letters nave a different signification, and are discussed under the captions of "Diffused" and "Crowded" writings. When the \\ riting is very small, the power of concentration is indicated, although some script is so microscopical in size that it is almost unreadable, and this smallness indicates stinginess, particu- larly so if the words arc close together. Medium sized writing is the customary size, and to gain any intelligent deductions from it, one must look to the Other signs for the explanation of the script, for, alone, this si/e lias very little meaning, no more than one would expert from any ordinary person of commonplace intelligence. Large writing, or high letters, approximating one-quarter inch in height, signifies the synthetical rather than the analytical mind. When the le ters of large writing are all of the same height it denotes the opposite to large writing with all the letters at different heights. The si/e of writing must be judged carefully, as the value of it depends on the contributing signs. That the si/e of writing is not alone dependable for analysis, is explained by the fact that some writers accommodate their writing to the si/e of the sheet of paper used, while others, whose faculties are well balanced, are not influ- enced by any limited space. Small Writing When habitually written low, one- The general indication for small writing sixteenth of an inch in height or is the power of concentration. It be- less, excluding the capitals. tokens stron £ individuality and force of character, with mental powers above the average. Good thinkers and rea- soners, with well-trained faculties. Literary persons, scholars, statesmen, philosophers, and men of mental re- finement write small. (No one of mediocre ability ever writes the small hand.) Executive and business quali- ties with diplomatic tendencies are in- dicated. GRAPHOLOGY 13 ^UA^<^^^ Medium Sized Writing The conventional hand; approxi- mates one-eighth of an inch in height. Note: Consider the prox- imity of the writing to either the large or small script, and then neutralize the two extremes. Not always concentrative; more of the physical than of the mental type. May have good thinking qualities but are poor reasoners. Not always tactful, unless the signs for tact are evident. May have some intellectual powers and originality, but they are not strongly indicated. Tendency is to the practical, material affairs of life. The significa- tion for "medium" writing, depends on its proximity to the small or large script. Large Writing This style of writing has grapho- logical signification only when the small letters are abnormally high. (Follow same rule here as that given for medium writing.) (The writer of this specimen is prominently in the public eye, and at one time was a candidate for the presidency.) (a) Slight powers of concentration; thoughts are diffused and fly from one subject to another. Finds it difficult to remain long at one task; naturally restless and unsettled disposition, (b) The nature is one hard to satisfy, (c) Nature is close to the surface and easily seen, for the writer is inclined to be too outspoken, frank, and talkative, (d) Little tact is indicated; reserve force is limited. (e) Expends energy too freely and extravagantly in pursuit of fantastical ideas, and is apt to be too free in spending money, expressing opinions, in charities, or in use of words and ideas. Usually conscientious and of highest integrity, but lacking sound judgment. 14 GRA P II I. o G V ^t^/OfO *e^. / When the writing is large and with Denotes an egotistical, pompous na- flourishea and deliberate shading. turc, and given to boasting. When writing is abnormally large and in the angular hand. (The writer of this specimen is a woman member of the English nobility, and the wife of a member of parliament.) Denotes order, zeal, and enthusiasm. Readily animated or exeited. Always vivacious and spirited. Usually enter- taining talker; insists on having own way whether it suits others or not. THE STROKE All handwritings arc formed by combinations of the down strokes, the upstrokes, and the cross strokes. The down and cross strokes alone have any graphological significance. No one can write one intelligible syllable with the upstrokes exclusively. Down strokes may be written heavy, fine, or shaded. Heavy strokes may be made all one thickness or shaded, irrespective of style of pen used. Fine strokes are devoid of shading. Shaded strokes vary according to the amount of pressure put on the pen — one form of pressure determines the position of the shading on the down stroke, and the other form, the strength of the shading. Shading may begin at the top of the letter and end lightly; or it may occur midway down the stroke or at its terminal at the bottom of the stroke, before returning for the upstroke. An upstroke may be partially shaded at its GRAPHOLOGY beginning, if the pen is held at an angle away from the body, but in whatever manner the upstroke is made it has no graphological meaning. Shaded writing depends largely on the position in which the pen is held; if the hand is held with the penholder pointing over the right shoulder (or in left-handed writers, over the left shoulder) the down strokes are shaded ; when the penholder is allowed to cant to the right, the cross strokes become heavier. All down strokes of handwriting are direct muscular expositions of the nerve forces. These forces are communicated to the hand through the senses, and consequently the heavier the strokes the greater the strength of mind. Shading of the down strokes is mostly affected by the senses of taste, touch, and smell, while the shading of the cross strokes is affected by the senses of sight and hearing. The upstrokes are not affected by any of the senses, as they are involuntary strokes. These vibrations in script enable the graphologist to know how much of each trait or habit to attribute to the writer. There are two other forms of shading : the conscious and unconscious. The former is used for show and effect, while the latter, being the involuntary move- ment of the hand, is natural and is governed by the impulses. Care should be exercised in determining the value of heavy writing, which may indicate "good or bad" leanings, according to the other signs in the specimen. U-^^LJUuX^^ Heavy Writing When all the down strokes are heavily made, with or without shading; this includes all down strokes that are firmly made. (a) Denotes assurance, aggressiveness, and general lack of delicacy. An end ing, domineering disposition. 0>) In- tensely selfish, conceited, with link- regard for the feelings of others. 16 GRAPHOLOGY C^t^fi^U A- When heavy writing is large, thick, and black. (The writer of this Specimen, a woman, is a member of the English nobility.) (a) Persons who write this style of hand, are inclined to be deceitful and revengeful, and will not hesitate to resort to trickery, if necessary, to ac- complish a purpose, (b) Often rough- ness and boldness of manner, with lack of real refinement, are indicated. (c) Good qualities are indicated, such as a masterful, self-reliant nature and, frequently, marked ability. t^^' / 4>f4 *&t^ Heavy writing, when it is ihuddy, not clean, and snappy; usually in large hand. Denotes sensuality, with oestrual hab- its, if other signs confirm it. Has strong passions and animal appetites; fond of physical exercise with desires that are confined to the gross and material. Intellectually weak and not mentally well balanced. Gluttony. CW d^^v. ~ fv 5 ^ o^a ^J^AKJ •^(Waa^ ^f\£W\J^ Fine Writing When all the down strokes are lightly made, without pressure, and in which there is a total ab- sence of shading. * Denotes quiet, modest tastes, with ten- dencies to a complaisant and simple disposition. Delicate sensibilities, tem- perate habits, and unobtrusive man- GRAPHOLOGY 17 (This is a specimen of the hand- writing of the late Miss Mollie Fancher, written in 1884, shortly- after emerging from a thirty -day trance, in which she believed her spirit or soul was celestially trans- ported to heaven, and was in commune with the angels.) ners; little desire for voluptuous pleasures or luxuries of life. Usually spiritually inclined, although not nec- essarily religious. Always has a high sense of honor and kindly consideration for others. y, Shaded Writing There are two forms of shaded writing, the conscious and the un- conscious or natural shading. Con- scious shading may be distin- guished from the unconscious form, by noting the deliberate heavy down strokes, or inflated parts of the stroke, which are made to beautify the writing, or for effect. Unconscious shading: Denotes an insistent nature; the more natural and spontaneous the shading, the more the trait is intensified. Na- tural executive ability always indi- cated, with determination. A dis- tinctive personality with well-defined tastes. Fondness for physical plea- sures, wholesome sport, luxury, and good living. j£J.j)~3Lu> Conscious shading, done for effect. Affectation and egotism with common- place personality. Lack of culture and ability, with small education, and weak intellect. Lack of strength of charac- ter. (Young children just out of school, consciously shade their writ inv: for effect; this feature is not considered in this definition.) [8 GR A I'HOLO G V Shaded writing thai is Muddy, unclean, coarsely made, with inflated shading; refer to Heavy Writing; see Muddy Writing. Cross STROKES When the strokes are liv;ht, no Denotes absence of sensuousness. -hade. m^ -^{ f*>~~A /V*vw^> ^v» cvw ^va VvX^ &-&&& When the croSfl Strokes arc heavy Denotes BensilOUSnese with regard to and sharply Guided. iorm, music, or any of the emotions that are aroused by the passions. FORM The form of writing is closely akin to style of writing, with the exception that in style reference is made to a fixed standard confor- mation that is recognizable as distinct from other styles of writing. Form relates to the individual letters, the curves, strokes, and other characteristics in writing. Hence, the copperplate form is not typical; it is unusual as a means for conventional letter writing. It apes the Spencerian penmanship, and if persisted in, stamps the writer as of light mentality. Conventional writing is formal, expres- sionless, and may lack one or more of the elements that give char- acter to writing. It is that form of writing that results from custom, habit, or preference, due to lack of mental force. Inartistic writing may indicate shallowness of intellect, or a brilliant eccentricity. The laborious scrawl of the hard working mechanic may appear inartistic, compared with the practiced hand of the experienced writer, but the intellect in either case may be equally acute. GRAPHOLOGY IQ Copperplate Form of Writing The copybook style, written, with full regard for appearances, to beautify the writing; Spencerian penmanship. Not typical of nor- mal handwriting. The more the handwriting approaches the copybook standard, the more com- monplace is the personality of the wri- ter. Denotes lack of individuality, bound by rules and conventionalities; no ideas of one's own; no distinctive character. Accomplishments, ideas, and capacities are limited; seldom brilliant. Many bookkeepers affect this style in the belief that the tidi- ness of their books requires it. -^ZtsC^K s^t^cCf s^ozcX Conventional Writing Unassuming, unaffected script, penned freely and without regard for appearances; the formal hand There is no graphological significance to this style of writing; the only excuse for introducing it here is for comparison with the copperplate style and the inartistic. The separate features in the specimen will determine the character of the writer. Inartistic Writing This form of writing ranges from the laborious grind of the hard working mechanic, to the cramped Denotes modesty, frankness, truthful- ness, and sincerity. Writer is unas- suming, honest, trustworthy and Up- 20 GRAPHOLOGY schoolboy hand; it implies an unsophisticated nature, although writers of high intellectual attain- ment affed it, l)iu it is always the hand of the iinpracticed penman. right; a righteous, just, and morally dean nature. Lacks conceit, although possessing an unreasonable disposition. (The author of thi^ specimen is a noted writer of children's lxx>ks and kindergarten stories.) Ornate W'kniM. When writing is ornamented or penned with great care and with mmh Sourish and Spencerian shading; done for effect; conscious fancy writing. (a) Although probably talented or cul- tured, the writer is egotistical and con- ceited. Inclined to be headstrong and opinionated; self-impressed with own importance and often affected in man- ner, (b) These writers are usually light-hearted and have a high percep- tion of beauty and form, (c) Construc- tive ability, dexterity, and artistic talents are indicated, (d) When other signs confirm it, often a scheming, planning, enterprising, adventurous nature, (e) Usually small, reflective intellect. SPEED There are three classes under this heading, distinguished as hasty distinct writing, hasty indistinct writing, and hasty dwindling finals. The hasty distinct form is penned quickly with every letter perfectly legible. The hasty indistinct form is made in such haste that an occasional final letter is omitted, yet every word is readable. Hasty dwindling finals is that form wherein the last few letters in a word dwindle off into an undulating stroke, hardly decipherable, and if read at all, must be judged by sensing the word. GRAPHOLOGY 21 Hasty, Distinct Writing Quickly penned with every letter legible. (Specimen of the handwriting of a well-known public entertainer.) Indicates quickness, animation, vi- vacity, with much hastiness. Intoler- ance of details and an inherent inability to do things according to plan and order. Usually lacks ability or apti- tude for practical work. Not steadfast or ardent in the affections; generally impulsive. Hasty, Indistinct Writing Letters hurriedly written, some only half formed or omitted. (Specimen of the Hon. Wm. J. Bryan's handwriting.) The indications of this script denote much ability; one always accomplished in one direction or another. Possesses a great deal of individuality and origi- nality. Generally good talker, and entertaining; may have oratorical abil- ity. Usually ambitious with vivid- ness of imagination and inspiration, and sometimes a spice of genius. Win n other signs confirm it, insincerity, dis- simulation, and artfulness are indi- cated, and are present in one form or another. Conscientiousness is not strong; the tendency is toward ail elastic conscience. 22 GRAPHOLOGY .'"^n^—A Hasty, Dwindling Finals When the last few letters in a wort! dwindle ofT into undulating strokes. The pen mark of the sharper and Bchemer; will not submit to dictation. Does not always intend that what is said shall be taken literally. Lacks frankness; a finesse, diplomatic nature; a. jollier. I las an impenetrable person- ality, which will be either subtle, hypo- critical, or dissimulating, according to accompanying signs. / Slow Writing Writing that is carefully penned is not necessarily slew writing. The form considered here relates to writing that is carefully punctu- ated, with the "t" crossings delib- erately made, the spacing between words equidistant, and the lines clearly separated from each other. The writing lacks snap and dash, as if every letter had been particu- larly placed. l^ZU^- This form of slow writing- signifies a desire for care and order; the writer is neat and methodical; habits are quies- cent and calm. When the writing is slow and ap- pears cramped or unsteady. Advanced years or infirmity may be inferred. When slow writing is straggling and spread over the lines, using more space than necessary, it is classified as Diffused writing, (See Diffused writing.) ( i UAPHOLOGY 23 Uneven Writing This form of writing may be either hasty or slow, the writing varies in size with uneven base that appears broken, on and off the line, yet not wavy. The tops of the letters are uneven also, some higher than others, and lack uniformity. A wavy base line is undulating, serpentine-like; this must not be mistaken for uneven writing. Ipjl* Vr jfijUsh Tiki <^^rujt^ Hasty, uneven writing. Careless in little things and not metho- dical or systematic. Inclined to be indifferent to engagements or business affairs. u* When the writing is uneven and slow. (Specimen of a well known woman freak, exhibiting at the summer resorts as the "Fat woman.") £o £ Cyo-t^+ Uneven, slow writing, and particularly the straggling form, denotes a weak and vascillating character; Lacks judgment and discretion. Little self-control; apt to be flighty and irresponsible; laclcB poise and full mental balance. There is a lack also of harmony in action and of the faculties. Writers of this form are inattentive, abstracted, visionary, in- decisive, unsteady, capricious, slovenly, awkward, careless, and unpractical. They are not to be depended upon. 24 GRAPHOLOGY Uniform Writing Usually slowly written with all the Denotes neatness and one who acts characters uniformly penned, all with precision and carefulness. Al- one size, even base line, all down wa V s tactful > methodical, painstaking, + i « „* „™~ ™„i<* .. n :f n ~« with well-balanced faculties. Good strokes at same angle, unilorm , . ,, , j ,. business instincts; thrifty, prudent, spacing between words and lines. , . , ' . 1*", r & and economical. Makes good man- ager, organizer, capable clerk. SPACE Space refers to the relative distances between letters and words, and also the lines. Some writers use too much space and others crowd their letters and words, and even the lines close together. One is called Crowded writing and the other is called Diffused writing. Crowded writing is that in which the letters in a word are crowded close together, jammed against each other, as if to shut out any encroachment of additional letters; or the spacing between words is so small that it makes the words appear to run together, or crowd the margins, or even use the margins for additional writing. The lines are also written so close to each other, that they could not be cut apart without mutilating the loop letters. In fact the loop letters run into the lines above and below, giving the latter a confusing, tangled appearance. The normal space at the left margin should be about one-half inch, and even all the way down the page; this gives to the letter an orderly, harmonious appearance. Good business men do not leave wide margins, and do not crowd them. The matter is written squarely on the sheet, using all legitimate space, and the loop letters are not permitted to extend to the lines above or below. This explanation defines the difference between a normally written page and one that is crowded. Diffused writing shows the letters in a word and the words themselves widely spaced and spread over the page, using more space than necessary. The form where the message is written in the center of the page, leaving (iRAPHOLOGY wide margins at the right and the left, may not be considered dif- fused, although it takes on largely of the characteristics of diffused writing, with some modifications. Diffused writing is usually the habit of those who write large hands. Another form of diffused writing is the straggling variety used by the insane. This latter form is usually associated with weak, uncertain strokes, and while diffused in space is actually crowded, one line running into another, rendering it difficult to read. o»4 ^kmc^ When lines start to ascend and then descend. Indicates enthusiasm at first, but not enough energy to finish at end. JLsZ. ~^^>7^ ~»U When the last word on a line Indicates that the writer is subject to "droops." the "blues." When long dashes are used to fill out the ends of lines, rather than divide a word and carry it over to the next line. Denotes extravagant notions, with a certain degree of cautiousness and mis- trust. The Left Margin When the writing begins wide at the top and ends narrow at the bottom. Inclination to spend money and to be liberal, but combats against it success- fully. When the writing begins narrow at the top and ends wide at the bot- tom. Desire is to save but spends more all the time. When the left side of the writing is uneven and lines are indented, giving an in-and-out appearance to this margin. Lacks order; has lively nature; careless in spending money. When written very close to the edge of the sheet, with the tops of the heading filled in, and every available spot used, even to cross- ing the horizontal lines, and at the margins. Inclination is toward stinginess; usu- ally is thrifty; lacks good taste; often untidy and sloven. Note. The conventional left margin is about one-half an inch. "Crowded Writing" for further details. See G R A P II O L O G Y 35 TERMINAL OR FINAL STROKES The terminal of a word is the final or end of the stroke, of which there are several forms. The abrupt final ends as if chopped off at the completion of the last letter. The outward form extends hori- zontally away from the last letter, either in a short or a long stroke. The upward final may turn up in a short stem or soar above the letter. The downward final extends below the line, sometimes ending in a thin, short line, or is snapped down saucilly as if in defiance. Downward finals frequently end with a tiny hook as if the writer, in lifting the pen, gave it a slight jerk, leaving a little tick like append- age, that resembles a small hook. Sometimes these hooks occur in the outward or the abrupt finals, but rarely in the upward form. Some writers extend their final with the last word on a line to fill out otherwise blank spaces. A rare specimen will show finals that curve upward and back, partly inclosing the word. When these signs arc habitually used in a specimen the signification is reliable. It is improbable for all the forms for finals indicated here to appear in the same specimen. UrL*j£ Terminal Strokes Writing in which the final strokes Generally self-contained; not given t<> end abruptly, as if chopped off. extravagance in either the Bpending ..; material goods or of their emotions. (This specimen is from the hand- Discriminating in genen»iiv and kind- ness. Prudent, careful, reticent nature. When seen in a hand bearing evident mistrust, it denotes excessive calcula- tion, solicitude, and extreme fore- thought in the character. writing of a prominent efficiency engineer.) <2Jl>Jl^t /-h~~ When the final stroke extends out- The tendency i^ to give out, to throw ward, almost horizontal with the off, as a giving out of one's sell for the 36 GRAPHOLOGY line, but not used to fill out other- sake of others. Writer has vivid pow- wise blank spaces. ers of fanc y» as wc | l as liberality and generosity. Tenacity of purpose is indicated when the finals end with a hook. When this outward final is found in a hand denoting kindliness, quick sympathies, etc., it indicates a self-sacrificing nature. Finals that Extend Upward When the finals extend upward Denote one who is interested in any- above the word. thing that tends to arouse the imagina- tion; love of the marvelous. When the final stroke is turned Good-natured disposition; a candid upward. an d outspoken person. Benevolence, graciousness of manner, and courteous- ness of bearing are also indicated. When the final stroke is turned Indicates secretiveness and general lack downward without hook. of candor. Often obstinate and willful. GRAPHOLOGY 37 W--U. th fact When the final stroke is turned Writers are opinionated, perverse in downward with a tiny hook. their convictions, and insistent upon their own ideas. Will not tolerate dic- tation. When the final stroke ends ab- The indication is generally determina- ruptly with a tiny hook. tion and persistency if other signs con- When the final stroke curves up and back over the word, partly inclosing it. The accepted explanation for this sign, is protect iveness, or the unconscious wish to shield oneself from harm, or in the interests of others. PUNCTUATION Few persons are able to punctuate correctly. This does not apply to inexperienced writers only, for many able writers are included in this arraignment. The features of punctuation that apply in graphology are those that indicate a total disregard of its principles, due either to ignorance, carelessness, or an aberrated state of the mind. The substitution of dashes for periods, for instance, may not be attributed to ignorance, but probably to an unconscious impulse, made while the mind was concentrated on a subject that suggested the intention to be cautious. To all intents and purposes the making of a dash might serve the writer's puqx)se as well as a period, but its 38 GRAPHOLOGY use, nevertheless, clearly indicates a mental twist, for in graphology the intent is considered rather than the form used to express the thought. This rule applies to all features of writing, whether it occurs in the punctuation or in the letters of writing. Any departure from the established rules of writing tends to show the state of the mind at the moment it was concentrated on the act of transcribing thoughts to paper. Only such specimens as could not be clearly described have been introduced here, as the descriptions are gener- ally clear and self-explanatory. &Cot**s UC^UU> U>+*Jc CL* Jk+*icA Punctuation When all marks are carefully Denotes carefulness, with methodical placed, each mark properly used. habits. Due regard for order and a systematic nature. /2^0e^y^?^z. — <^->t~ Cjsfst^ cOt^-i When punctuation is carelessly Indicates a general carelessness of man- placed. n e r and of actions. When dashes are substituted for It indicates caution, prudence, and periods. guardedness. An aggressive tempera- ment with a reserved exterior and manner. GRAPHOLOGY 39 ^T^^^^-^^Z^^ 7^2 When there is an utter absence of punctuation, in the hand of the inexperienced writer. Negligence is indicated in small mat- ters, and lack of caution. Incompe- tence in the matter of detail and sys- tem. Usually denotes a bad memory. When periods are quickly made and with elongated dashes. Indicates excitability. This habit rare- ly accompanies refined hands, for cul- ture and refinement seldom show emotion. When periods are made round deliberate dots. with Indicates calmness. When exclamation, interrogation, quotation marks, and underscore are much used. When quotation marks are con- stantly and needlessly used. W T hen punctuation marks are used accurately, especially the colon and semi-colon. Romantically inclined. Denotes a ten- dency to magnify and embellish, and to become enthusiastic and wax warm over subjects that the writer has at heart. Eccentricity and mental shallowness Presumptuousness. Literary ability and training usually indicated. When the comma is persistently omitted. Mental confusion. <4SBLj *~* U^ J> £-At^ # When dashes are placed at the end of sentences additional to periods. A mistrustful and very watchful na- ture. 40 GRAPHOLOGY When words are constantly under- Shows great desire for clearness and scored. accuracy. Indicates self-esteem. The tendency is to exaggerate; great enthu- siasm may be expected. Want of de- liberation and a poor judgment are denoted. When phrases are underscored by There is a delicacy of feeling and refine- curved lines. ment of thought, some vanity and a good deal of capriciousness. When the X mark is used in place The indications are that the writer is of periods at the end of para- either a newspaper writer, has repor- graphs torial experience, or is a telegraph operator. The other signs in the speci- men will indicate the classification. CAPITALS Capital letters may be regarded as supplementary signs to the graphological significations indicated by the small letters. The student may often find that capitals will supply characteristics that have been overlooked in the analysis of the small letters. The shape and size of capitals frequently show independent features of charac- ter, not so clearly revealed in the small letters, and in this respect are useful as confirmatory signs in making an analysis. To illustrate: Capitals that are large, high, and prominently written, with ten- dencies to the ornate, may indicate a certain degree of egotism, but unlike that trait found in writing with useless flourishes and with conscious shading of the down strokes in the small letters. The quality of egotism shown in high capitals may indicate a justified ego, or pride of self, due to one's station or position in the social scale, which distinguishes it from the egotism that is revealed in useless flourishes, that relate to false pride, born of a shallow intellect and an assumption of virtues unattained. Capitals are susceptible of many variations of style and of construction, each feature having definite interpretations of character, in some respects more pro- nounced in definiteness than that indicated by the small letters. Many authors lay great stress on the value of capitals. We once heard a French graphologist of note declare that he needed no more than the capital "I" as a basis for delineating character, as he con- GRAPHOLOGY 41 sidered this isolated example sufficient material for an analysis. Be that as it may, we can hardly recommend this method to the student, because every available piece of writing should be taken advantage of, if accuracy and dependability are to be assured. f 0fiM* />£^ V?y*^ ~S^,Q// Capitals When capitals are large and prom- inently tall, tending to the ornate, seemingly out of proportion with the small letters. Indicates egotism, conceit, affectation, love of display, and pride. This type of writing indicates that the writer has accomplished some achievement, over which he is elated and wishes to display it. When other signs indicate it, cul- ture and ability in some direction are shown, with vanity and egotism surely present. In one way or another the trait of self-importance, with a quietly self-appreciative nature and fondness for approbation are noted. Occasion- ally the traits of eccentricity and originality are evident. When capitals are excessively or- namented. VrM Ostentation and imagination are indi- cated. Talenta and accomplishmenti are usually mediocre; lacking in intel- lectual depth. 42 GRAPHOLOGY UJUAs- When capitals are written with the incurve, i. e., an initial stroke preceding the making of the letter, and passing from right to left. Always signifies egotism and sensitive- ness with regard to social position. These writers entertain lofty opinions of themselves, although there is some- times indication of culture and ability, if other signs confirm it. When the incurve occurs in the small letters, it denotes unselfishness, humbleness, and generosity, but the Bign always signifies sensitiveness. X When capitals are plain and simply written without flourish and almost print-like, and are not out of pro- portion with the small letters. The more simple the capitals are made, the more they denote taste, refinement, modesty, and simplicity. Quiet and artistic temperaments, with inherent ability and mental culture. Literary men, deep thinkers, and philosophers usually write plain capitals. When capitals are plain but large. Ict-v^dnjihJL^ Pride and egotism is indicated to a certain extent, although this is con- sidered more an indication of boldness with some aggressiveness and master- fulness. Self-reliance is always mani- fested. <; H A P II () I. () (. Y 43 "a-*- &/Ol*C<%^ ^r-gA / When capitals are made with Sensuousness and love of pleasure and heavy pressure, either in form of comfort, shading or heavy stroke. Note: Do not confound "sensu- ousness" with "sensuality." Sen- suousness may be entirely pure, while sensuality is never pure. y, When capitals are severely plain. This sign is always the evidence of keen faculties. jUx. A^^-vY A^fco-vuU-Jjt** When capitals are severely plain, of angular construction, and awk- ward in appearance. Simplicity, lack of tact, and plain homely tastes arc indicated. Practical, unemotional, and matter-of-f.ut per- sons with sterling qualities, but without magnetism are apt to use this form of capital letter. I ( / n tit AS* ^CU-<, 1^ The F in Frank When capitals are made severely plain like printed letters. Sense of form; an exacting and critical taste; some artistic ability. 44 GRAPHOLOGY When capitals are long and slender Pride of the unostentatious form is though not too high. indicated. ACol^s ULL^L* 0>-*-0 When capitals are too small in Timidity; lack of self-appreciation, proportion to the small letters, and the writing is commonplace. When capitals are very small with Great simplicity and fineness of nature, the writing forceful. m Qtov.iTO J/OJJJWULTVj SADAJLOAJJUIAjQ* When capitals are gracefully orna- Proud and mild ostentation, with good mented but not ostentatiously dis- taste. played. When capitals are disproportioned Lack of mental dignity. Vulgarity of to the small letters and inharmo- mind. Absence of literary and other niously written. refined tastes. GRAPHOLOGY 45 When small letters are replaced by capitals. While liveliness and enthusiasm are indicated, an ignorant, bombastic pride- is present. When too frequently re- placed by capitals, arrogance and im- portance. L/ When capital letters are "notched ," occasionally seen in the small letters. This sign is the invariable mark for persons who are suffering with heart trouble, either valvular, or systolic murmur. (L^^y The Capitals M and N W T hen made in the three-stroke form like the small letter m. UsO. /ha^o /ft Simplicity and freedom from ostenta- tion is usually indicated. When the first stroke is made higher than the others, in either form of this letter. The M in "Mitchell" is indicated. This is a specimen of Dr. Osier's handwriting. Pride, independence, nncl social ambi- tions (pride of family name and BOCJal position). Ambitious for the BUCCCH and welfare of those near and i\va-. 4 6 GRAPHOLOGY Jtl When the second or third stroke is highest in this letter. Normal persons are unable to write this form of M spontaneously. Denotes extravagance of mind akin to mania; visionary on religious subjei ts, when religiously inclined. Usually sensitive nature. Self-satisfaction. Sign of unbalanced mind; not that the writer is crazy, but invariably of a nervous, erratic, eccentric, unreason- able disposition; exacting in demands upon others; thoughtless of their com- fort or capabilities. These persons usually possess a disposition that is wearing on, and trying to, others. I ci n + a A/b ^ou-c K When w r ritten with three perpen- dicular strokes and one horizontal stroke above, sharply made. An aesthetic nature; likes beautiful things and surroundings. Tastes are refined and artistic. <3rf Cfe.§W(Sau*«^$l / / ajULnAAA^ j yVMXUJLAM& The M in Mr. When this letter is looped and or- namented, either the initial curves of the two-stroke form, or the final stroke of the three stroke form are elaborately ornamented or whirled into a loop. Lack of culture; ostentation strongly marked. GRAPHOLOGY AT o^x^y When written with the incurve, the initial stroke begins at the right, swings to the left across the letter, and forms the start of the letter. ii Abducent Writing There are two supplementary The general signification of this form forms of handwriting that have of writing is amiability, and a keen special reference to the small let- mind. GRAPHOLOGY 51 ters, and which govern every fea- ture described in this division. One form is called the abducent style, in which all the down strokes bend inward to the left, causing all the tops of the letters to be pointed or sharp. It is made by versatile penmen with an easy swing of the pen. (^Cc^^^L — - <^->^ Uux^ c^h^c Adducent Writing In this form all the down strokes are out-curved or bend to the right, causing the tops of the letters to be rounded, with a sharp or pointed base. Angular writing is not included in this classifica- tion. The general signification of this form of writing is calmness, with a certain dullness of perception. ty^- &jczz^ t CL tfOVfaMZ**7^ Variable size of Letters When the small letters are written in varying sizes, although the base line is even. This form of writing is unlike the manner of making the letters, shown under Uneven writ- ing. Persons who write their letters in this manner are versatile, with the natural ability to do many things well. Gener- ally they lack poise, are rather change- able, and are subject to whims and fancies. There is mobility of feelings with mental plasticity and sensitive- ness, and a certain amount of inconsis- tency, indecision, hesitancy, weakness, and sometimes untruth, should con- firming signs indicate it. Touched-up Letters W 7 riting in which some of the let- ters have been incorrectly or indis- tinctly made and which the writer has attempted to correct by going over with the pen. Love of perfection; desire for im- provement. A careful person. (The first / in Personally.) 56 GRAPHOLOGY Initial Strokes The beginning strokes of a letter. Indicates one having patience and When words begin without initial capable of self-control. strokes. When a letter begins with a little Signifies quickness of temper. tick or tiny upstroke. ■I d^SZtjLsi; tr^Cv-t^usk) lb y*-4L,. When the letters begin with a tiny Desire for acquisition, love of posses- hook. slon > usually an egotistical nature. See the / in letter, the w in wish, and the h in have. When letters begin with a curved Powerful sense of humor; love of the or fancy stroke. ludicrous. Buoyant and mirthful spirits. A wag. GRAPHOLOGY 57 When letters begin with a long, Impatience. Love of contest ; a quar- inflexible stroke. relsome, contentious nature. (WV> Muddy Writing When the down strokes are coarse, The nature tends to ce strual, immoral thick, smeary, untidy, occasion- habits; a sensual temperament. Usu- ally splotched. Usually occurs in all >' bruta, » mean « Bdfish . wilh animal- shaded writing, but may appear in istic tastes ' An amativi " an<1 dimen- any style of writing. tive nature A lively imagination and J ° quick witted. Small Letters Pointed at the Top Signifies keen intellect with an acute perception. /2J^^7^Z^ ~ rt^rnj^**jLu* When loop letters are well devel- oped above and below line. Indicates a strong imagination; enter- prise, organization ability, and self- consciousness are shown. ^Xs-C^t When the loops are long and ex- tend to the line below. Inclined to be romantic and notional, and to hold unconventional ideas on many subjects. Fond of novelty and originality — whatever is odd, appeal-. Not much business ability is indicated, because these writers are too venture* some and speculative, and apt to l*c restless with a desire forfrequentcham;e and variety. When the upstrokes of the lower This sign indicates clannishnrss. loop letters curve well to the left. When the lower loops arc long and Fond of poetry, mimic, art, or whatever rounded. appeak to the imagination, along cul- tured lines. 6o GRAPHOLOGY When the lower loops arc inflated, Shows cleverness, lively imagination; a that is, wick- and balloon shape quick and vivid fancy. When the lower loop letters are Conservation of ideas; practical and made with a stroke without a loop. methodical traits; a good deal of firm- ness, will power, and self-reliance. Some imagination is present, but it is held in check. When the lower loop letters are Much firmness and determination. In- made in the form of heavy strokes. clined to be obstinate; hard to convince. When the small letter / is made (a) Indicates hastiness; desire to finish with the return stroke to the right a task quickly, (b) A sympathetic — not looped. anc * kindly nature; an amiable disposi- tion. (, K A P II OLOG Y <»l When the small letter / is made with very round, inflated loops. Love of pleasure; lack of rcfiectivt m - When other signs confirm it, this / denotes energy and love of success. This style of/ will often he found in the script of salesmen, commercial trail- ers, theatrical publicity men, advertising writers, or of those whose natures are buoyant and care- free. When the small letter / is made with the return stroke turned sharply to the left. A lazy, indolent nature. May have sympathy and l>c kindly disposed, but it is not obtrusive. The disposition i- vindictive and revengeful. When the small letter / is made When the stroke is light tnd m with the upper part looped and MgHlfies a frail and timid Datl the lower, in a stroke. **■* made ' 1 ** "»■*'»•»«■•'"■ 62 GRAPHOLOGY When the small letter g is made like the figure 8. This form of g is always quickly made. Rapidity of thought and probably of speech may be expected. ^ l%uJ&is**i^tS ^^**^ When the small letter y is made The same as for the g. with a triangle within the loop. & c/ &' When the small letters g and y are Strong likelihood of some bad moral made with a flourish within the habit existing, such as a drug addict or loop some kindred weakness. Small letter y when it ends in a stroke, is the same as that credited to the g. fir -6^ fa-Tn^te^ /* '£**** frequently carried to the ix>iiit of falsi - hood, if cornered. The nature is verj reserved and uncommunicative; rarely talks about personal affairs; i not to commit themselves; very difficult to draw from them an opinion on any subject. When the small letters a, o, d, g are open at the base. (This manner of writing this form of a, o, d, g is always spontaneous, and it cannot be written by any one whose nature is opposed to the traits cited.) This is a rare form and not often seen; well that it is so, for it denotes deliber- ate misrepresentation, dissimulation and falsehood. If the sign is repeatedl) used, the nature tends to hypocrisy and dishonesty. fivt^tt^y^^ / The Small Letter b. When written with the incurve, i.e. Usually an egotistical, •elf-app the initial stroke begins at the tive, proud, and scll-nhant nail right of the letter, swings to the left, forming a loop. 66 GRAPHOLOGY t^£^i^ox h~4 l/C&CZ^- The b in before AND believe When the small letter b i^ written with an initial down stroke made heavy, and without the loop. Denotes conciseness with practical ideas and abilities. A distinctive indi- viduality, with originality that is not usually commonplace. Often has strong convictions. When the initial down stroke is not heavy, these significations arc modified. The b in before When the small letter b is writun with an initial hook, instead of the loop, before beginning the stroke. Denotes one who is talkative and fond of conversation, chatty, with much to say. Usually a rapid and animated talker. spl4>e?{ £4*Y**^C /t&iA •**/ /Hn&c'r The Small Letter d When the stem is written high, either as a stroke or with very slim loop. Pride and self-respect are indicated. These writers always entertain a high regard for personal dignity, and will never submit to anything that will compromise or demean their conception of personal quality. They are retiring and self-depreciative. When other signs confirm it, a high sense of honor is noted which may be exactingly strict. GRAPHOLOGY 67 ^t^e^? When the small letter d is written with a short stem, or made low down on the stem, with or without loop. The significations for this form of d are almost infallible. Self-respect may not be lacking, but regard for personal dignity is less than that shown in the high stem, because the writer is willing to waive it in favor of some personal gratification or profit, considering policy of more consequence than prin- ciple. This trait seems to be put on and taken off to suit the occasion. IVr- sons who write the low d stem habitu- ally, are rather lacking in a high sense of honor, and the conscience is more pliable, because more scope for action is allowed, without fear of compromis- ing the dignity or morals. /K-9^L£xe£cCS~~ /^4n^«^ /CaS~"* When the small letter il is curved Upward and prominently to the right ffJtX^. (Mjvb Inclined to be gay, fanciful, and of fun- loving nature; the tendency is to be coquettish and flirtatious. If in large or diffused hand the sign is augmented. Love of admiration and a strong desire for approval are also indicated. /V-A ftV^ >vJUwi O o I S-^O^-x 4n When the small letter d is made with the final stroke curved up- ward and ending in a little spiral curl Denotes conceit, presumption, vanity, or pretension. Given to levity, with a shallow and pleasure-loving nature. An eccentric and odd manner, that betokens absentmindedness. a-^yi ^2t? Q4 ZdZsO / _* Q~d ^ilit> sharp and cutting things, and use sar- castic terms, hei omes manifest. 70 GRAPHOLOGY Zf y&*^w^y^ ^ ■hi When small circles are used in place of dots. The sign may be attributed to threat- ened mental disturbance or ignorant eccentricity. In cases of Suspected mental disturbance the writing will be individual and well balanced, the cir- clea supplying the first hint of derange- ment. Used as an eccentric fad, the habit will pass off as soon as the writer develops in mental strength, and assumes responsibilities that compel him to relinquish faddish notions. When the dots are made large and heavy. Materialism, or a nature yearning for worldly pleasures and enjoyments. When extremely large and heavy, it indicates an ungovernable temper, with strong passions, if not an abso- lutely brutal tendency. The nature is usually assertive. l£Jo cl'-^^^-^t y / When dots are made like horizon- tal dashes. The indications are an energetic lively nature. GRAPHOLOGY sC^-C^t When the dots are made like de- Opinionativencss and physical courage scending dashes. are indicated. When dots are made like wavy dashes. Love of fun, and humor; a li^ht- hearted nature, with slight incou dMuiitkc U tii 1£ol4 When dots are angular and irregu- lar in form, at times a dot; at other times a dash; now and then curved or straight dashes. Irritability and more or lesfl ODCttabk temperament. When the dot is made club shape. Brutal potentialittei are Ind with an .11 tIV« and mat t-ri.ili>t V tality, tending to wh ■ensual. 74 GRAPHOLOGY -^C^»-^ (J ^A \K^ 13 The Small Letters m and n When these letters are written like the small letters w and //, in the concaved form, or abducent writ- ing. Adaptability, suavity, kindliness, and a good mixer. Usually alert and quick to grasp problems. yntoeCuL eX*G not S r.-lial-'- the text furnishes additional t \ idence to support it.) J() (iRAl'HOLOGY THE Small LSTTEB / This is one of the most important letters in the list of graphological signs. The / bar is the principal feature, and its strength, manner of crossing, length, and other formations of the bar, determine its value. When the stem is carefully crossed. When the / bar shows that it has been This means that the bar is neither deliberately placed on the stem, with- on the right n«»r on the left of the oul (lash or hasU '- il denotes a careful stem, but carefully se1 across it. and painstaking person, with good will- power and constancy of purpose. It denotes a calm, sure, certain, even character, with good determination and executive ability in a trained hand. In the untutored hand it denotes moderation and, probably, mediocrity, but always conscientiousness with more or less deliberation and firmness. When the t is heavily crossed, Denotes firmness, much will power, de- usually across the stem. termination and aggressiveness, with assurance and self-reliance. Force of energy, physical courage, daring and persistence of effort are indicated. When the bar is long and the crossing is heavy much assertiveness and often a defiant air in manner are shown. JuJZLlsu $^Ur-*^£>& Ct+*-£> W 7 hen the t is weakly crossed, Denotes lack of strong will power, meaning that it is carelessly made, Usually without much force of char- GRAPHOLOGY with a thin, listless stroke whether, across the stem or above it or to the right or left of the stem. acter, and lacks firmness and d< Writer is not likely to 1><- i aims and purposes, and may be dissuaded; the DatUT illating and irresolute. Often has m and commonplace capabilit ir^^S^Ar ymas^l^t Vm When the / bar is placed to the right of the stem (weak strokes are rarely made to the right of the stem.) Impulsiveness, quickness, animation, and hastiness. When bar flies off from right of the letter without touching it. it usually signifies impatience. Tin- initiative faculty is promt in .1 corre- sponding degree, with enterpn thusiasm, curiosity, and ambit ways indicated. tfMalt^c A & t^ok* When the / is crossed to the right, in the angular hand. Denotes a quick temper; intolerant <»f reproof or restraint. Often 1 writers are aervoufl and irritable; re- marks are BtingJng, W h< D annoyed. ~r ^U^ 7^ When the t is crossed to the left of the stem. Tin's is the infallible sign for : tination. The h. ii.it of puttii Cannot be depended upon to fulfill promiaes, bowei er well in*' • slow, hesitat persons may !"• extremely m th appear to be busy .ill the tin probably are, but • ompliah little in the long run of this lack of de and pur habit. 78 (i R A P II O L O G Y V £CM*<**< ■ >i^rgMreaatrvel M4 G R A P li O L o t. V CLAAj^laX^o^^ <_^ ipC^^SUuLi When the bar is curved at either Denotes a light mentality, end and scroll Bhaped. -Uc6> ^-tkrk^zrfirt When the bar la long and pointed Signifies meanness, malice, and anger at its finish. dtzfr* When the bar is made with a tiny Tenacity of purpose and firmness. hook at its finish. ^y When the bar is made in the form Effusiveness and fancy, of a lash or whip. When the bar is flourished. Imagination, pretension, egotism. G RAP H O L O G V When the bar is substituted by a Persistency is always shown in one looped triangle low down on the form or another. stem. 86 GRAPHOLO G Y A SPECIMEN ANALYSIS In making an analysis from a specimen of handwriting, the student should make notes of the signs in the script, and jot them down with their meanings. Having completed the list of signs, arrange them in the order of their classification, as indi- cated in the Elements of Graphology, which, as previously stated, should be memorized, precisely for the reasons now being dis- cussed. The first of these elements is style, the second is slope, etc., etc. Continue in this manner throughout the entire specimen, until all the features have been dissected and their meanings applied. You are now ready to delineate the letter, which you do by neutralizing the signs, grouping the character- istics that are similar, or combining related traits of character, for the double purpose of making the delineation accurate and to prevent verbosity. This plan of separating the signs, and giving them their meanings, and arranging them in classified order, insures accu- racy, and prevents too much dependence on the memory, for the best of us are not too well equipped with unfailing memory, at least, until we have become thoroughly familiar with the signs and their order of procedure, and have had experience enough to trust the memory. Skilled graphologists become adept in reading the signs, and may not always need these pre- liminary memoranda, unless a record of the script is desired for riling away for future reference. Unless some standard form of a record sheet is employed, the student will be required to make this record every time he analyzes a specimen. This entails much time and labor. On page 122 will be found a specimen record form, similar to that used by the author for several years, in his professional work, and which has proved its utility as a permanent record of the specimen analyzed, to which frequent reference was often required to ascertain change of character in applicants who have held positions one year or more with the same firm. CHARLES E.FRANCIS Attorney and Counsellor at law ISO Nassau Street Manhattan New York City TtllPMONE CONNECTlOl (fa**. &/ Wf. Rcouu irctvd Ouuce^^ Out TcLl/JUS tJaMxru^ ^^Slcl quo Ctxjo tjcaxJtr (QJU^tccLsu -tt iocxKL vZ<*rtz£jzj dj It^ocy^o a^rfjL ***** O^oJ CovcnJ^ 88 G R a P ii o i. o G v This record form may be had in printed sheets, of convenient size, containing all the classifications, in consecutive order, by which the student may record any specimen of handwriting, and use it as a working sheet, and also for filing away for future reference. These record forms are put up in pads containing ioo sheets, and the cost is nominal. These pads may be ob- tained from the Gregg Publishing Company. A SPECIMEN ANALYZED In order to give the student a practical example of the method of making an analysis, and of writing a delineation from the analysis, the following illustration is presented. A few lines of the first page and a few lines of the last page, with sig- nature, are given ; in every other respect the specimen is intact and in the original size. This writer possesses a keen intellect with an amiable disposi- tion and fun-loving nature. He is bubbling over with levity and good nature. (Abducent writing, wavy t-bars shown in the crossing of the fs in Smith, in time, in exact, in competent and in great.) The power of observation with the faculty of seeing appreciatively are strongly marked, (t-bars are extremely short.) Impulses and emotions, however, are under control, although the nature is unambitious, due to pessimistic and opinionated tendencies. (An occasional descending t-bar, others curved like a bow with the ends downward, the first t-crossing in interested on the first line ; t in it on the seventh line and in persist on the tenth line. The script denotes a nature that is acquisitive of knowledge, with keen desire for culture and what is refined and proper. (Persistent use of the Greek e and d, modified by the occasional ending of the d stroke in a spiral curl, which indicates a too pleasure-loving nature; some vanity and coquetry.) Business instinct is strongly indicated as well as enterprise and organization ability with a vivid imag- ination, that renders him resourceful and quick to see an advantage. Loop letters are well developed above and below the line, those below line being especially so. G R A P H O L O G ¥ 89 His instinctive mind, modified by rare deductive powers denotes one having patience, and capable of self-control, particularly so under trying circumstances, as in debate and in heated arguments when his versatility becomes manifest (The equal use of disconnected and connected letters, tin- absence of initial strokes, the closed a and 0, and the general lv firm / crossings.) Judgment of matters and people are dictated by an inner consciousness, for he is quick of comprehension, critical, analytical and is usually a good judge of character. Tact and a reserved, conservative, discreet nature are shown, with a well-ordered mind. He rarely acts ha>tilv in matters of business and never becomes confused or excited; these are the attributes of an astute and judicial mind. (Closed a and 0, well-spaced writing, straight base lines, pointed tope of letters and large lower loops.) His fun-loving nature is so strongly marked that he often misses opportunities for substantial advancement, when bis light-heartedness and high perception of things beautiful tend to sway his otherwise staid demeanor. His artistic taste- are highly developed and, if cultivated, would prove pleasing and attractive as a pastime or a business venture. (The tendency to ornate writing, shown in the capital M in My and Mr, and the graceful formation of his signature.) The signs, however, indicate a bit of egotism and mild conceit, with marked desire for approbation, weaknesses that arc pardonable in a char- acter so full of achievement. The total absence of shading in any of the down strokes is indicative of quiet, modest tastes with tendencies to a complai- sant and simple disposition, with delicate sensibilities, tem- perate habits, and an unobtrusive manner. A hi honor and kindly consideration for others are characteristic The student may proceed in this manner, until all trait- propensities have been noted, excluding of course the technical references printed in italics, which are written here for his benefit, showing the features to which the interpretations refer. 90 GRAPHOLOGY ~ £**** &•*>+£*"{ ^^^^U^ Z^I^U^uw ~ZJ c *7 r <°c. //. ^ 3r£je^rzy&criJ&. /\r-^&J2^?~~ ^js/2«^^/&lJ* 17 K^k; le and humorous. No. 2 A. Lincoln A keen intellect; resourceful. No. 3 U. S. Grant Virility; energy; protectiveneSB. No. 4 Grover Cleveland Keen, concentrative mind. No. 5 W. J. Gaynor Highly developed mentality; irri- tability. No. 6 Wm. H. Taft Refined; whole-souled; hearty; jovial. No. 7 Ex-Emperor William Intriguing nature; arrogant; self- laudatory. No. 8 Queen Victoria Arbitrary will; impulsive. No. 9 William McKinley Will power; drip thinker. No. 10 C. H. Parkhurst Logical reasoner; studious; am- bitious. No. 11 Theodore Roosevelt Determination ; resoluteness. No. 12 Mary Baker G. Eddy Will power; logical thinker. No. 13 T. C. Platt Ambitious; acquisitive. No. 14 Wood row Wilson Clearness of perception; diplo- matic. No. 15 Seth Low Dignified, courteous, charming disposition. No. 16 W. J. Bryan Intuitive; indiscreet; venture- some; selfish. No. 17 John Adams Calm, deliberate judgment. No. 18 Chester A. Arthur Introspective; self-centered. No. 19 Thos. R. Marshall Sensitive; jovial nature; simple tastes. No. 20 W. E. Gladstone Brusqueness; severity; justice. GRAPHOLOGY GRAPHOLOGY 93 MEN MORE OR LESS IN THE PUBLIC EYE 1. R. E. Peary, U. S. N. 2. Charles W. Fairbanks 3. A. Con an Doyle 4. Richard Croker 5. Andrew Carnegie 6. Elbridge T. Gerry 7. Saml. Gompers 8. Chauncey M. Depew 9'. Hudson Maxim 10. C. Matthewson 11. R. G. Ingersoll 12. John Hay 13. Charles E ; Hugh is 14. John Ireland 15. Leo Tolstoy 16. Thomas A. Edison Masterful; self-reliant; marked abil- ity. Quiet and modest tastes; complai- sant nature; temperate habits. Excessive calculation; solicitude and extreme forethought; inquisitive- ness. Assertiveness ; physical courage with material likes and dislikes; opin- ionated, with strong convictions. Quick and ready mind; self-confi- dence and self-reliance ; deep think- er; brusque but honest. Resourceful, masterful, quick think- er; leans to the material; not spiritual. Delicate sensibilities; cautious; pru- dent. Sensitive nature; cautions; prudent; alogicianandinvesti.ua tor; mirth fnl. Highly developed sense of propor- tion, harmony, and adjustment. Great determination and resist ance power; perseverance; opinionated. A restless and unsettled disposition; intellect is warped. Broad visioned; ambitious; forceful and strong personality. Quick and ready speaker and thinker. An indecisive nature, lacking power for expansion, yel endowed with an open mind. An inspirational. psychic mind, fraught with benevolence and kindness. Very broad intellect. Equipoise; the creative, constructive mind; simple tastes and desires. 94 GRAPHOLOGY 16 6 / £W^_.^..^r IS ^%V1^^ ^ &e/VrrU3u*i*2 SIGNATURES OF MUSICAL CELEBRITIES (1KAPHOLOGY 95 SIGNATURES OF MUSICAL CELEBRITIES The autographs of individuals shown in this work are not dis- played wholly for the interest that is attached to distinguished characters, but they are included as a means for demonstrating the psychology of environmental influences on the human in- tellect as a developer of habit. The signatures printed on the preceding page are musical celebrities gathered from the four quarters of the globe. Each is imbued with the same spirit of "tone expression" that is characteristic of musical geniuses the world over. This is con- clusive evidence that music is an outpouring of the soul, an in- spirational instinct that cannot be otherwise than a sublime impression of mind. Notwithstanding the similarity in musical instinct, all these distinguished persons possess different temperaments. While this similarity of musical expression is shown in the several specimens there are no two alike. This suggests that habit controls the character which is expressed in handwriting, pre- cisely the same as one's personality controls speech. These expressions occur in every individual whose mind has been trained to think. The higher the intellectuality the more prominent the signs. The physician thinks along physiological lines; the lawyer, along judicial lines; the thcologician, along spiritual, etc. These concentrations of mind create hal >it ; hal >It makes character. Persons with musical talents, particularly when highly developed, become inoculated with the spirit of rhythm, tone, and harmony. It is natural for their impressions to be reflected in their handwriting, because this outward mani- festation of individuality is controlled by the emotions, and every emotion finds some form of expression in writing. It is interesting to observe the receptivity of mind of public entertainers. When the plaudits are spontaneous and pro- longed, the performer is enthused to higher and better effort. The sensitiveness and superstitions of theatrical folk are proverbial; adverse criticism or lukc-warm recognition ol their 96 GRAPHOLOGY offering results in despair and complete mental collapse. Pro- fessional entertainers are overwhelmingly conceited and impressional ; they seek and expect to receive applause, for they love to be admired and acclaimed. Approbation is their mental food. No. I. Olive Fremstad. Great tenacity of purpose; a bit stub- born, and an aggressive nature; moral courage and refinement; sensuously musical. No. 2. Dr. Richard Strauss. Inspirational; resourceful with practical ideas; simple in habits; indifferent to luxury; good business instincts; tune and harmony strongly indicated. No. 3. Lillian Nordica. An acute mind ; fine literary discrim- ination; culture and refinement clearly indicated; sen- suously musical. No. 4. Enrico Caruso. A complaisant nature; love of admira- tion and approbation ; tends to the material rather than the spiritual ; the musical score is very high. No. 5. Nellie Melba. Morally courageous; sensitive and jealous; prudence with a sense of reputation and char- acter that is upheld at all costs; musical tastes highly developed. No. 6. Raphael Joseffy. Resolution; firmness with conserva- tion of ideas; imaginative and idealistic; animalistic nature; musical tastes highly developed. No. 7. Richard Wagner. Keen sense of the spiritual ; creative, imaginative, and inspirational; musical sense strong. No. 8. Fannie Bloomfield Zeisler. Calm, deliberate nature; physically active, with good business instincts; rhythm and harmony highly developed. No. 9. Anton Rubenstein. An acute mind with strong preju- dices ; apt to be erratic and whimsical ; self-glorification and pride; intense musical feeling that is almost sen- suous. G R A P II O L O G V ()J No. io. Anton Seidl. Masterful; keen and deductive mind; instinctively careful and prudent; practical turn of mind ; pride and self-esteem with musical talents highly developed. No. II. Adelina Patti. Ideas are dainty, sublime, idealistic; love of admiration, display, and some ostentation; musical talents are sensuously prominent. No. 12. Victor Herbert. Constructive ability; practical ideas and aims; proud, self-reliant; an insistent nature; love of admiration is strong. No. 13. Franz Liszt. Impressional and luminous mind ; a perspicu- ous, lucid intellect; tune, harmony, and "tone" color highly developed. No. 14. Olga Samaroff. Conservation of ideas; imaginative; idealistic; quick and ready mind ; apt to be boastful and ostentatious. No. 15. Theodore Thomas. Good business instincts; construc- tive mind; highly intuitive; inspirational; musical signs are indicated. No. 16. Fritz Kreisler. Simple tastes and ambitions; inspira- tional, keen judgment; musical and artistic ambitions. No. 17. Josef Hofmann. Dexterous, clever, original, constructive ; matter-of-fact nature. No. 18. Maud Powell. Mistrust and subtlety of nature; vanity and love of display; desires approbation; musical powers are highly developed. No. 19. Mischa Elman. Cautious, prudent, and conservative nature; soaring ambitions with love of display and ad- miration indicated. No. 20. Ernest Hutcheson. Highly trained mentality; imagina- tive, with quick perception without conscious reasoning; musically sensuous. No. 21. Emma Eames Story. 1 )i termination, firmness, will power, and courage; originality of ideas; clever, versatile, and logical. 9 8 GRAPHOLOGY No. 22. Walter Damrosch. Self-conscious nature; originality and self-reliance; imagination; fantasy; usually impa- tient. No. 23. Josef Stransky. Practical turn of mind; strong reasoning powers; instincts of a good business man; talent for music and art strong. No. 24. Vladimir De Pachmann. Unassuming, modest, righteous; moral, clean nature; highly inspirational; a calm qui- escent disposition, modified by a love of approbation and admiration. Has musical soul. PROMINENT ACTORS, ACTRESSES, OPERA SINGERS, MUSICIANS AND COMPOSERS 1. Marcella Sembrich Inspirational, with love of admiration. 2. I.J. Paderewski Love of display; mistrust and subtlety of nature. Protectiveness; vanity; simplicity of tastes, although a slightly intriguing personality. Love of admiration; a complaisant na- ture. •« . • Irrascibility; brusque but honest nature. 6. Guglielmo Ferrero Good natured; benevolent and gracious of manner. Strong reasoning powers; culture; peace loving nature. s Coquetry and fun loving; loves to be admired ; tenacity of purpose. Courage with a certain sensuousness and love of finery. Depreciative nature ; generosity strong. Great tenacity of purpose; physical courage and sensuousness of form and display. 3. Mendelssohn 4. Enrico Caruso 5. L. von Beethoven 7. Wilton Lackaye 8. Luisa Tetrazzini 9. Mary Garden 10. Elsie Janis 11. Ellen Terry GRAPHOLOGY 99 IOO G RAPHOLOGY 12. Emma Calve Lover of the artistic; an aesthetic nature; faddish. 13. CLARA L. Kellogg An insistent nature, in which the materi- alistic is strongly manifested; selfish. REPRESENTATIVE VAUDEVILLE ARTISTS The men and women who are affiliated with the vaudeville branch of the theatrical profession represent a distinctive ele- ment among public entertainers in that they are individually expert in some particular novelty, excelling in it according to its Specific character. The few specimens of signatures shown here are among the "top notchers" in their profession. Each one is representative of their special calling. The tendencies seem comparative, in that all show more or less of imagination, versatility, and earnestness, yet are lacking in the higher attainments possessed by professionals in the drama and oper- atic lines; they all possess the same love of admiration and approbation which are characteristic of them. Xo. 1. George Beban. Great determination and tenacity of pur- pose; desire for culture and education ; a certain refine- ment and aspiration for the idealistic. No. 2. Blanche Bates. An insistent, stubborn nature; highly imaginative ; strong willed ; extremely affectionate. No. 3. Marshal Montgomery. An insistent, persistent, stub- born nature; vivacity, quickness, animation, with much hastiness; intolerant of details; great tenacity of pur- pose. Xo. 4. Eva Tanguay. An erratic, animated, vivacious nature; great physical alertness and restlessness; cautious; sus- picious. No. 5. Irene Franklin. Self-interest is the governing motive; self-conscious nature; seldom does things impulsively; little regard for authority. GRAPHOLOGY lOl ro I 102 GRAPHOLOGY No. 6. Lillian Russell. Quietly self-appreciative nature; fond- ness for approbation strongly indicated; vanity and a bit of egotism, with love of display and pride. No. 7. Fay Templeton. Guided largely by impressions; mild eccentricity, and slight exaggeration; a vainglorious nature; quick, observant, and critical. No. 8. Gus Edwards. Practical turn of mind; argumentative and skeptical of what is not at once understood ; opinion- ated with decided views. No. 9. Jim Corbett (James J. Corbett). This specimen written in so free and friendly a spirit, signifies a kindly and affectionate disposition, unostentatious and unpreten- tious. The object of this specimen is to show a signed name stripped of all formality, in which the professional glare lias been unconsciously removed. No. 10. EVELYN Xksbit. Reason and self-interest are the govern- ing motives; accepts little on faith ; love of pleasure and comfort, actuated by strong animalistic instincts, as opposed to the spiritual. Xo. 11. Victor Moore. Lacking a strong, resolute nature, modi- lied by cleverness and powers of mimicry; immoderately ambitious. Xo. 12. May Irwin. Clannish with great love of kin; versatile, ambitious, jovial nature; endowed with strong common sense. No. 13. Gaby Deslys. An avaricious, grasping nature; desire for gain; cautious and suspicious; headstrong and opinion- ated. No. 14. Emma Carus. Versatile; brilliant; mental activity of a very pronounced description; love of display, admira- tion, and approbation; a slightly intriguing nature. GRAPHOLOGY ABNORMALLY LARGE HANDWRITINGS (The original of this letter is about ten per cent, larger, the reduction being necessary to fit this / io4 GRAPHOLOGY ABNORMALLY LARGE HANDWRITINGS WLlWu (Facsimile) G k A V II OLOG \ IMS ANOMALIES OF HANDWRITING ABNORMALLY LARGE WRITING The specimens shown on the two preceding pages indicate the synthetic rather than the analytical mind. These specimens were written by ladies of the English nobility whose lives are pampered and petted; whose ever) material wish is granted, rendering them extremely sensitive concerning their favored surroundings, and jealous of their social standing. Compared with people of normal living and habit- these persons of the "upper class" must find an outlet for their effulgent ideas about entertaining and of being entertained, for they are wont to live and do things in a larger way than those living in a lower plane. This habit of being "big" is reflected in the handwriting. This bold style of writing proclaims the individuality of the person; it says as clearly as anything can be said: "I am big; I am lofty; I am grand, august, and divinely selected to be your superior." The script suggests a natural tend* nry to dis- play outwardly the person's manner of carriage, poise, and station; the expression of self; they feel a right to be big, dar- ing, courageous, bold, proud, resolute, and critical. When the emotions have been over stimulated the impulses become correspondingly aggressive, rendering the nerve forces active under great tension, which draw heavily on the physical resources, and threaten the vitality. This sapping of the * ital fluids, sooner or later warps the intellect and weakens the mental processes, inducing prejudices that narrow down to small men- tal compass. The result is a "high-brow," or synthetic mind. Generally speaking, "high-brows" or persons who aspire to look at things "above the common henl." move under great tension. This strain must find relaxation in some form oi emotional outburst, which, for the want of better mean-, turns to entertaining their peers, or other social function-, or respond- ing to them; in either case the mental -train is the same. I06 GRAPHOLOGY The nature develops a materiality in which the affairs of life tend to the grosser, away from the spiritual; they become notional, indulgent, effusive, and talkative. The critical and emotional senses grow acute. Because of this inherent desire for show and exploitation of self, they are apt to express their feelings without reserve. This encompassment of surroundings renders these individ- uals narrow in their mental grasp of things, lacking concen- tration, or the power to see or feel beyond their own little world, and in consequence their thoughts, like their writing, are diffuse and fly readily from one subject to another. While morality and integrity are not necessarily less, they are certainly blunted; in most instances sensuality is an accompaniment. Plate A is an unusual specimen of abnormally large writing, and for this reason much interest attaches to it. The veriest novice in graphology can readily conclude that the writer has very little reserve force, because the energy expended in penning the letters must have been extravagantly spent. Correlative with this useless expenditure of energy the nature is to be extravagant in all ways, in the spending of money, in the expression of opinions, charities, vocabularies, and deportment. In the vernacular of the day, she is "up in the air." Plate B, also the writing of a woman, takes on nearly all the characteristics of the writer of specimen A, with the possible exception that she is less appreciative of her exalted position, although equally imbued with this sense of superiority. Her nature is one that is readily animated, excited, venturesome, vivacious, and spirited. She is talkative, has much to say about herself, her personal affairs, and experiences, and while an entertaining talker, her one thought is about herself and her petty recreations and social functions. Both specimens denote selfishness and thoughtlessness of an extreme depth. An analysis of either specimen will reveal many other inter- esting features, which are held in reserve for the student, and from which he will derive profitable experience. GRAPHOLOGY MISFITS AMONG BOOKKEEPERS There is only one job a man loves best and can do best and from which he will profit most; that is the job for which he is best fitted by nature. Mr. Frank A. Munsey, the eminent newspaper publisher, says: "You cannot get out of a man what God Almighty didn't put into him; you must suit the man to the job, not the job to the man." Among all clerical vocations, bookkeeping is probably the most deceptive, because it appears to be what it is not; it attracts young men away from other fields that arc more productive, more prospective, and remunerative. The hopes for an easy, dignified semi-professional job, is the magnet that attracts men whose natural aptitudes point to other directions. The business schools throughout the country are grinding out bookkeepers by the hundreds, the great majority of whom are temperamentally unfit for this class of work. The labor market is glutted with applicants seeking positions as "accountant-" when only about two per cent, are really competent. This has been tested by vocational counsellors and employment mana- gers who reluctantly admit it to be a fact. The author professionally examined two-hundred replies to one single advertisement from applicants for the position of bookkeeper, and was able to select only four out of the lot that showed any ability or natural aptitude for this work. As a matter of business advantage, it is desirable for even man to take up a course in bookkeeping, but not n ecessa r ily with the expectation of following this work as a vocation. Its adoption will prove a disappointment to ninety per cent, oi those who undertake it. The honorable profession of "keeping accounts" has greater responsibilities than the mere posting of items in a ledger. This is demonstrated by the introduction into business of the trained Certified Public Accountant, whose duties are to supervise the work done by bookkeepers. W^u\ [08 GRAPHOLOGY MISFITS AMONG BOOKKEEPERS (. R A I' II OLOG \ the bookkeeper been inherently adapted to the work, the pro- fessional accountant may have been unnecessary. The specimens printed on the preceding page wen- indis- criminately selected from a batch of replies received from appli- cants through an advertisement for the position of bookkeeper. Eleven out of twelve applicants indicated would have succeeded better as farmers or carpenters than as bookkeepers. No. I writes a "pretty" hand; he is insistent and sometimes ob- stinate; there is a dash of ingenuity. He is conscientiously honest . refined, and cultured. He is too impatient to make a capable bookkeeper, for he is unable to concentrate on details and lacks close application. This man is naturally a composer of music, or should take up theology, both of which need an inspirational temperament. No. 2 is too wavering in mind and maybe unable to thwart tempta- tion; why not try outdoor employment, either in engineering or min in g? No. 3 is of the mental type, inert and probably indolent; lacks energy and ambition; would succeed better as a compositor, proof- reader, or checking clerk. No. 4 should have learned the trade of carpenter before he started his career as bookkeeper. He lacks mental capacity for it. No. 5 would have made a successful correspondent, or literary man had he trained for this line of work. He has full command of language and has an active mentality. No. 6 ought to be earning thirty dollars a day as an architect instead of seeking thirty dollars a week as a bookkeeper. This mar, has imagination and constructive ability. No. 7. This young man would make a competent shipping clerk, collector, or floor walker; he is of the motive type and is out of hifi element in any sedentary position. No. 8. This man is intellectually weak, lacks ambition, and the habit of "putting off," although traces of falsehood are Bhown, he does not intend to deceive, but lacks the moral courage to assume the responsibility for any indiscretion. He should try chemistry. No. 9 should seek some trade that requires limited muscular effort, for he is physically unable to do heavy work. He lacks the mental equipment for accounting. no (iRAPIIOLOG Y xsZ^~yy^& INSANITY AND ITS VARIATIONS G K A P BOLOGY in No. 10 will find his proper place in the ranks of mad salesmen, for he is alert, strong, and broad visioned. Publicity writers are devel- oped from material such as he. No. II. If this man were as persistent in seeking a job as drafts- man, engraver, or letterer, he would find his proper niche. A litho- graphic artist or photographer's retoucher would fit him. No. 12. Many years ago, Horace Greely attracted considerable attention of the young men of his day, by advising them "to gi i West" and grow up with the country. This young man has all the attrib- utes for making an intelligent, successful farmer, and he should lose no time in embracing the opportunity. Bookkeeping and he are incompatible. INSANITY AND ITS VARIATIONS Insanity is divided into two general classifications, the Acute and the Chronic; these forms may be subdivided, and the sub- divisions still divided, until the several varieties of insanity form a very intricate conjugation of mental disturbances. Graphology makes no claims to supply signs for determining the different phases of mental unbalance, which are distribute d over a wide range of afflictions, from the incipient, or aberrated form, to the virulent type, commonly known as crazy or mania- cal. The principal forms of insanity, in their order of develop- ment, are: emotional, delusional, dementia, mania, melancholia, and paranoia. In a collective sense writing that is exaggerated in any par- ticular, by unusual strokes and formations of the letters, or interference of the loops of one line with the line above or below, is characteristic of mental disturbance, the form of which may be reasonably determined by the direction of the sign that con- trols the trait of character affected in the patient. It is possible for insane people to write perfectly sane letl on subjects not associated with their delusions, so the subject matter may not always reveal signs of peculiarity in the patient No. i. The lady who wrote this specimen would never be sus- pected by her friends or acquaintances of having any mental distur- I 12 GRAPHOLOGY bance, unless her unreasonable criticisms, depressive and morbid nature, would supply any hint of the threatened indisposition. The downward cant of the writing and unsteady strokes supply the early indications. No. 2. This specimen was written by an estimable, refined, and educated lady, a spinster of thirty-five years, who at this period of her lift' showed signs of mental unsteadiness, with physical outbursts of temper, quite unlike her former quiet demeanor. Specimen No. 5 in the same plate is her writing one year later, after she had been placed in an institution for the insane. Her malady was described as delusional insanity, in Which she entertained hallucinations of men who were enamored of her. The nervous, excitable pen scratches, uncertain formations, frequent erasures and unconven- tional final "d's" with inordinate drooping of the last words on the lines, are the markings that denote her disordered mental condition. No. 3. Is a specimen of writing of the insane, characterized as passionate, emotional excitement, with an erotic nature, and known as the form Mania. The diffused, yet cramped gathering of the letters, uncouth formations, and the intrusions of the loop letters on the lines above and below, the irregular base line and the divergent strokes, with a weak, characterless arrangement of the words, are the signs that describe this writer's mental twist. Notwithstanding these irresponsible pen marks, there are evidences of former refine- ment and culture, education and highly developed intellect, that seems to have tottered and fallen away. The inevitable course that follows uncontrollable sexual desire. This is thewriting of the young divinity student, Rev. Clarence V. B. Richeson, who murdered his fiancee, at Boston, Mass., and was executed. No. 4. This is a specimen of the writing of a Paranoiac. This pa- tient was confined in an institution, under legal restraint, after having been adjudged insane, following the shooting of a prominent man, whom he charged with violating his confidences with his wife. The writing of paranoiacs is easily distinguishable from the other forms of insanity, by examining the incoherency and confused ar- rangement of the words, the distorted phraseology and disordered lines and spacing; the irregular formations of the letters, the con- nections, omissions of words and letters, the particularization of events and things, jumbled together, showing the confused state of mind and erratic tendencies. (. R A I» II O L O G Y 1 I No. 5. This specimen has been discussed in paragraph No No. 6. This specimen was taken from the writing of a habitual crook and thief, whose mental balance was affected. This man. while not sufficiently insane to be restrained, resorted to theft, because of an abnormal development of the bumps of covel ness and wilful disregard of the rights of others. His pen marks indicate one who may have had the benefits of education and refined surroundings, but his natural bent for bold, reckless and unreason- able avarice, displays an unbalanced mentality, which account- for his unstable conduct. This specimen was excluded from the plate devoted to criminals, because it partook more of the irresponsible feature in crime, than because of deliberate wrongdoing. No. 7. The writer of this specimen was not adjudged insane, but his unnatural propensities, nevertheless, put him in the class of those whose mentality has become warped and twisted. It is the all. handwriting of "Oliver Osborne" whose alleged escapades with a young woman were responsible for the notoriety given to a prominent lawyer, whose name was associated with the scandal. The script displays the mental perverseness of the libertine, one whose habits are cestrual, demeaning, and low down in the scale of human baseness. Evidently an attempt had been made to disguise the hand, but the tell-tale marks were unconsciously permitted to remain. denoting a keen intellect, with deductive reasoning powers, great energy and ambition to succeed, broad vision and trained faculties, with hasty, animated, impulsive, and erotic impulses. The natural hand (if this is a disguise), should have been less comprox d and rounded. The only excuse for placing this specimen in this plait- is to show to what moral depths even the intellectual may descend. CROOKS, THIEVES AND DEGENERATES The grapho-psychological survey and measuring of p values, morals, and actions, open the door to an acquaintance with many men and women who follow crime for a livelihood. No. 1. A specimen of the script of Henry Starr, the Western highwayman, written to his young son just before lie renewed hifl life as an outlaw. The wavy base, cramped letters, tied f, pointed tops, and variable size of the letters, reveal him a- a keen, bold, H4 CRAPHOLOGY CROOKS, THIEVES AND DEGENERATES G R A FIIOLOC V US cunning type of man; the decreasing letters and undulating finale, mark him as the relentless criminal that he is. No. 2. The pen mark of a sentimental old reprobate-; his undoing was in confiding in his stenographer, who was unable to hold a secret. Despite the writer's caution in financial matters, thi- confidence was innocently betrayed, and ended in his apprehension and conviction for fraud. No. 3. The sluggish hand of a drug fiend, who, under its influence, was swayed to dishonest actions. His strong / crossing indicates that there remained in him a fragment of decency and honor, now lost in irresolution and fear, which grew into a fiercely vicioua Btate of mind, and brought him at last to live as a procurer, the vilest kind of thief. The tied s, the d final below the line, the wavy base, the excessive slant of the writing — all testify to his perfidy— a degen- erate in mind and body. No. 4. The muddy, vulgar scrawl in this specimen is the hand- writing of "Bluebeard," the monster who confesses to having put to death nine of his score of wives. He is J. P. Watson, now serving a life sentence at San Quentin prison, California. Note the undulating base, irregular letters, heavy and light uncertain strokes, crowded lines, and smeary, irresolute strokes, all characteristic of an unbal- anced, yet pervert mind. No. 5. Specimen from the handwriting of a public official, who was convicted of graft and misappropriation of funds. The bold heavy hand, decreasing size of letters, hooks on / bars and closed o's, stamp him as a crafty, tricky person, full of intrigue and cunning. No. 6. These peculiar and extraordinary scratches depict an unbalanced nature, ready to take any risk in dissipation. Every down stroke spells moral and physical cowardice. No. 7. This is a woman's script; she is by nature possessed <>t .111 active, clear mind, and bright intellect, but with an undercurrent of odd perversity, which through strain on the nervous Bystem, devel- oped into kleptomania, with apparently no control over her actions. The variable and wavering lines, the irregular sloping of the letters, and their variable sizes and placing on paper are the tell-tale marks. Truly this is an illuminating specimen; it determines Borne mental disorder as the base of her peculiarities. No. 8. The heavy, vulgar shading, unkempt and coarse strokes, show dissipation and vicious living. Though intelligent, he 1- a 1 1 6 GRAPHOLOC. V dangerous beast, bristling all over with selfishness, a detest able and moral coward, a veritable lounge lizard, a frequenter of the bawdyhouse. No. 9. This specimen is far above the average among criminals; it denotes culture and refinement gone wrong, rarely seen in men with brutal, fiendish instincts. This script is the boastful, pompous mark of the retroactive mind. It proclaims self-glorification. The writer of this specimen was a proud official, high in the councils of the New York Police Department. Intoxicated with powers be- stowed upon him, he instigated the murder of a noted gambler, was convicted of the crime, and executed. ILLITERATE HANDWRITING The specimen shown on the preceding page is a missive re- ceived by a patent medicine manufacturer, which for a while baffled the office force. The interesting feature about this letter is the tutored formation of many of the characters in the writing; this suggests that the letter may have been written by- some wag for the purpose of hoaxing the manufacturer. This inference might be feasible without careful examination of some of the minor parts of the strokings, which plainly reveal the untutored hand. The small letter r is consistently substituted by the capital letter, which is also seen in the letter b. Another tell-tale evidence of illiteracy is the crude manner of crossing the /, all of which lacks intelligence and force of mental training, indicating an ignorant person laboriously trying to write a letter. The following is a parenthetical "translation." Santelouis (Saint Louis) M o (Mo.) O c o t b e (October) J i R S te (First) M Riwon t et o (Mr. I want to) as k euy o u a Q u es t o n (ask you a question) aBoutemicas (about my case) ih a V e B w en (I have been) s t R i c t e D (stricken) J-(f) o 1 'uy e a Ran iante (for one year and ain't) w e 1 uy eat (well yet) iha V B wen D i 1 at (I have been die — dead-lot) Mo R thena D o z nti m es (more than a dozen times) ntwellyeat (not well yet) Paragraph: GaVe (give) maiDesme (medicine) ("for" omitted) i t i J (f) uy o u P 1 e a s e (it if you please) A N c e R S oanto Rhicks (Answer soon to R. Hicks) NoRthCoMP- to N 22 (North ComptonSt.) iwilPauyouwel (I will pay you well). <; i< a !• 11 (i i o (, \ o co yx jg. a^ ^^5 ^ -^Ctf<> &> JL $ «^ jlsk, OcJP u8 GRAPHOLOGY HOW WRITING DEVELOPED FROM PICTURES Graphic information is so old that no one can date it with accuracy. If it is true, according to the revelations of geolo- gists, that man lived in the caves of Spain, France, and Ger- many more than two hundred thousand years ago, we shall have to go back that far for the beginning of writing, as it developed from pictures used at that time. The specimens shown here arc inscriptions taken from Per- sian pottery. Each line shows the gradual development of (indc letters from pictures originally used to represent ideas. The figures on the first line from left to right show a flying bird with its development into letters. The figures on the second line represent the head of an ox, with its development. The figures on the bottom line represent human beings, ter- minating into symbols used for letters. That the human mind progresses in this fashion is most clearly proved by the practices of savages and children, as well as of illiterate. All try to convey what is in their mind, either by picture writing or object-sending. GRAPHOl 0G1 119 CHINESE WRITING 5,000 YEARS AGO According to the highest authorities on Chirography, the Chinese were the first to systematize a set of characters for writing, developing an alphabet or set of symbols from the pic- tures that formerly served the purpose of transmitting thought. The specimen shown here de- picts this development in un- mistakable clearness. The right AA 3^T^^o€^c^ hand column are characters now used by the Chinese to express certain words in one of the Chinese dialects, while the left hand column shows the pic- tures they used before their alphabet was developed. The center column in script is the English translation for the Chinese words. i THE SIGNATURE OF "BLUEBEARD" The confusing mass of curves and strokes that form this unintelligible signature were penned by Count Giles de Laval, Lord of Retz, who was Marshal of Prance in [429. He was born in 1396, and after living a nefarious life, during which he practiced murder as a fine art, he was dubbed "Blue- beard." He was executed at the castle at Nantes, October 25, 1440. THE SIGNATURES OF NAPOLEON All these signatures were made on occasions calling forth widely differing emotions, and they vary as greatly as did the emotions. No. 1 is Napoleon's signature written after being crowned Emperor in 1804. No. 2 was written in Napoleon's proclamation, after his victory at Austerlitz, 1 Vc. 2, 1 805. JO G R A V II O L o <; V 3 is the emperor's signature penned after his entrance into Mos- cow, Sept. 21, 1812. No. 4 shows great depression after the retreat of his army from Russia, Oct., 1812. No. 5 is his signature to a document executed at Erfurt, after the defeat at Leipzig, Oct. 23, 1813, showing great agitation. No. 6 was written at St. Helena, showing exasperation and chagrin. No. 7 is his signature penned at Fontainebleau prior to his abdica- tion on April 4, 18 14. The difference between the orderly signature written after the victory of Austerlitz and the blotted scrawl after the defeat of Leipzig is very striking. All of his signatures made at times of failure or depression have a down- ward slant, while that after the victory of Austerlitz slants upward. These specimens are authentic photographic repro- ductions, taken from documents signed by Napoleon at differ- ent periods of his sovereignty. GRAPHOLOG Y [21 PICTURE WRITING UP TO DATE These illustrations furnish a curious phase of human intelli- gence, being a transcript from a memorandum book kept 1»> an illiterate woman living in one of the rural districts of Germany. Her business was to fulfill commissions in the nearby city for her country neighbors. Instead of writing her orders in the book, which she was unable to do, she drew pictures to represent the thing or things she was to purchase in the city. When she would buy rice she pictured a symbol ^a&^JL that meant rice to her ; when a customer wanted pears she ^==5^- "^ ^T~ "T? drew a picture of one. The 7 & same procedure was followed to indicate a sponge, slate, for a pot and cakes, or for wine and pork. This very crude way of keeping memoranda reminds us that through just such instances as this we gain an insight into the beginning of writing, which always started with pictures, and gradually attained to symbols which developed into systema- tized markings; these strokes and curves, in whatever language, are formed into words and sentences, which appeal to tin- civilized intelligence, and are communicable to others. The key to this picture writing is: No. I — means rice; No. 2 — is a pear; No. 3 — is a sponge and slate; No. 4 is a pot; No. 5 — are the cakes she is to buy; No. 6 — is wine; No. 7— stands for pork (indicated by a pig) No. 8 — is the bladder she is to get when the pig is killed. The memorandum book from which these pictures were taken contained several Other entries similarly expressed. 122 GRAPHOLOGY EARLY BABYLONIAN SCRIPT This is a specimen of Cuneiform writing, the first use of which dates back to a period so remote that it is idle to specu- late concerning it. These markings were taken from records on clay tablets on which the early Babylonian laws were inscribed , r< 1 or phrase used by the student which the client may honestly believe to be adverse to what is really true. Graphologists, and especially unprofessional students of graphology, are only human with as much knowledge of de- finitions as have been acquired by study and a retentive memory. The purpose of this work is to minimize errors and make the path of the graphologist as smooth as the nature of the work will permit. The principal aims sought are to avoid error and to inspire confidence in those whose in- credulity must be overcome. In writing a delineation of character the use of Bpedfic terms to give certain shades of meaning is necessary for a clear under- standing of what the author intends to convey. If the inter- pretation is expected to carry conviction, it must be couched in simple expressive English so that the reader, the recipient, may not ascribe a totally different definition than was intended. Any hasty, erroneous conclusion tends to discredit tlie work of the graphologist, although the only Bins committed by the 126 GRAPHOLOGY student may have been to make use of terms to express the definitions which were not properly understood by the client, and to express opinions based on belief, remote from the true definition. This temporarily causes embarrassment both to the student and the client, and may be irreparable, unless the op- portunity arises for correcting the misconception of beliefs. Most persons are apt to jump at conclusions with no regard for the standards by which proper conclusions are judged. This unfortunate trait is possessed by otherwise well-intentioned persons, but it plays havoc with results, nevertheless. Each word selected in the appendix is carefully defined, and expressed in several shades of meaning, to conform with the part of speech in which the word is to be applied. In a parallel column is given the graphological interpretation for the trait or habit, to correspond with the analagous phrase. The significations may be verified by checking them up with the indications given in the classifications under their respective headings in either the General or Special Features of hand- writing printed in the forepart of this book. QUALIFICATIONS, TRAITS, AND HABITS Term and Definition Interpretation Absentmindedm ss Lacking in attention; mind occu- Letters omitted in words; /-bars pied with something else; habitu- above stem; i undotted; / not ally or frequently abstracted. crossed; punctuation carelessly done. Absence of Sensuousness Free from sensuousness; without All cross strokes light, this physical influence. Abstraction A conception existing only in the Letters omitted in words; /-bars mind and answering to no reality; above stem. something visionary; condition of mind which results in its being withdrawn from certain objects. Same as Absentmindedncss. (i RAPHOLOG V -7 Accuracy (See Precision) Exactness; correctness; conform- ing exactly to truth or to a stand ard. Acquiescence Quiet submission ; passive consent ; compliance; disposed to yield or assent; inclined to submit. Acquisitiveness Inclination or power to acquire; the faculty of acquiring or making one's own, by labor or effort; de- sire for gain. Acuteness Having a fine and penetrating dis- cernment; keen senses; ability to make fine distinctions. Activity of Mind (See Animation) Brisk or vigorous mind. Adaptability Capable of adjusting one's self to situations, environments, or to changed conditions. Aesthetic Pertaining to beauty, taste or the fine arts; artistic. A person of fine taste or artistic culture. Ap- preciating or loving the beau- tiful. Punctuation carefully placed; letter carefully made; /-bur neither at right nor left of stem; Words fre- quently underscored. Cross strokes absent Letters close together; h(x>^ at end of strokes; punctuation never care- lessly done; finals never long, unho- used to fill blank space-. Small letters pointed at top. 11 like w and u . m and Letters hurriedly written, some onl\ half formed; angular hand; ten danoy to small hand; well-formed letters; down strokes shaded; . ally forward slope; diffused writing; well-spaced writing. Uneven base line; uneven writ inc. not wavy base line; m and ;/ like w and //. Usually in the vertical, round hand; conscious writing with original for mations of letters and connections; print like capitals; wide margins; wide Bpacing between lines; discon- nected letters; capital M made with three perpendicular, and one hori- zontal, strokes. 128 (i K A P II () L O G V Affection Desire; emotion; feeling, the giving out of the mind toward an object. Forward slope; the more slope the more affection. Affectation A studied or ostentatious pretense or attempt to display, to show off. nourishes; capitals too high. Agility The quality of being agile; quick- ness and readiness in movement ; nimbleness; activity of body or mind. AGGRESSIVENESS Disposed to encroach on another's rights; to commit aggressions; to work in behalf of one's interests; to work actively; to take the initia- tive in an attack; to intrude. Angular hand; tendency to large writing; hurriedly written; not well- formed letters; writing never com- pressed; p made with lower point sharp and upstroke on right of stem; /-liar on right of stem or high above .stem, flying off to right. Angular hand; heavy writing; p made with lower point sharp and up- stroke on right of stem, /-bar either heavy, to right of stem, or downward. Agreeableness {A Pliability) The desire to please; suavity: bland ness. Aliment iveness Desire for eating and drinking the propensity for drinking. Letters extended; capitals not high; style not eccentric; down stroke of p rounding up to left, instead of pointed and to right; m and n like w and u. All down strokes shaded; style coarse; unrefined appearance of the writing; some strokes uncertainly made. AMATWENESS The propensity to love, or for sexual passion; faculty of love for the opposite sex; sexuality. , Right slope writing; the more slope the more passion ; all down strokes shaded; muddy or unclean appear- ance of writing. G R \ P II o i. G Y Ambition To desire and seek eagerly; an eager desire and steadfast purpose to achieve something commend- able; an object of ambitious effort or purpose. Cross strokes ascending; M . cending; lines Blanting upward, Hasty, distinct writing. Amiability (Agreeablencss) Kindness or sweetness of disposi tion; lovable. Letters extended; m and n lib u\ capitals not too high; style not eccentric; down strokes of /> round- ing upward to left, instead of p and upward to the right. Amorousness The quality of being amorous. Having a proi>ensity for falling in love; influenced by sexual affec- tion or appetite; loving; ardent in affection. Tending to flourishes in writing; fancy writing; long loops in lower loop letters; forward slope. Amusement (Craving for) A natural inherent yearning or longing for amusement. Lines more ascending than won!-. Anger {Quarrelsomeness, Temper) Animosity; exasperation; fury; impatience; indignation; passion, rage; resentment; wrath; anger is sharp, sudden, and brief. Initial stroke- absent; dashes For i dots; capitals never Ion : letters never compr es s e d; I bar higher than top of stem and at the right \ with lower point -harp on Upstroke at right ; more likely in angular hand. tendency to vertical hand. Animalism (Sensuality) Actuated by sensual instincts and appetites only; without intellec- tual or moral qualities; animalis- tic; the state or nature of an animal as opposed to higher or spiritual nature. Down stmkcs iiiuddx : writing coarse; wavy base; generally slop- ing hand; CTO88 Btrokes he.i\ \ and dragging from one letter to another; fullness of the letter-, bloated like. 130 GRAPHOLOGY Animation (Vivacity) Animated; lively; quick; activ- ity, alertness, briskness, buoyancy, cheerfulness, exhilaration, gaiety, sprightliness, vivacity. Letters hurriedly written, some only half formed; / and d looped; letters extended; lines ascending; /-bar some- times upward ; either slope. Approachablenkss ( Friendliness) Easy of access; that can be ap- proached. Letters extended, and u. m and n like w Architectural Taste Constructive; adaptation to ar- chitectural purposes; a liking for Btyk or design <»f a building, a Bense for building and construc- tion. Simple, graceful and print-like capi- tals; neat margins; original style of letters and joining. Ardor Warmth of intensity of passion or affection, or of devotion to any purpose; vehemence; seal; en- thusiasm. Down strokes shaded; writing has upward tendency; /-crossings up- ward; well-spaced writing; gener- ally diffused. Argumbntattve Controversial; given to arguing; disputatious; an argumentative j>crson. Connected letters; words occasion- ally connected, /-stem looped; /-bar ascending ; a and o closed ; tendency to heavy hand. Arrogance Unreasonable or excessive assump- tion or assertion; overbearing pride; insolence, presumption, pride, vanity, haughtiness. Vertical writing — never sloping; capi- tals too high; strokes firm; intense shading — naturally done. Artful Characterized by craft or cunning; adroit; deceitful; designing; knowing; sharp; shrewd; tricky; wily. Backhand writing; angularity of strokes; tendency to small hand; words close together; letters hur- riedly written. G R A 1' II LOG Y Artistic Taste Appealing to the aesthetic nature. 131 Aspiration Earnest longing or earnest wish for that which is above one's present reach or attainment, especially for what is noble, pure, and spiritual ; aim; ambition. Assertive Declarative; confident in state- ment; dogmatic; positive; to af- firm the reality of a thing as a fact, advanced without accom- panying proof. Athletics Physical exercises. Austerity (Sternness) Gravity or vigor in conduct or attitude towards others; failure to show leniency; habitual, severe self-restraint or discipline; stern- ness. Autocracy (Despotism) The rule or authority of an auto- crat; the autocracy of will among the faculties. Avarice Passion riches; ness. for getting and keeping covetousness; miserli- Simple and graceful capitals; wide margins—right and left; wide between words; neat writing, coar-e. Down strokes light; n ascending; /-crossings upward; eith- er slope. Angularity of writing, or tope of small letters pointed; usually in large hand, or larger than medium. Lower loop letters long; p-stem short above — long below; down stroke firm and shaded; normal. steady hand. Strokes firm, style fixed; not sloping hand; m and n unlike 10 and u ; let- ters not extended; punctuation carefully done. Cross strokes ascending; capitals too high; Btrokes growing heavi wards end; hook- .it 1 -ml of strokes. Vertical or backhand writing, rarely forward slope; letter- CTOwd gether; final letters hardly finished; hooks at end of Btrokl \\ 1 urn t uat ion carefully done. 32 (i R A P H O L O G V Basrtuln I State or quality of being bashful; shrinking modesty; coyness; dif- fidence; modesty; reserve; shy- ness; timidity. Letters compressed; no flourishes; capitals low; cross strokes straight. Benevoli:\ Disposition to seek the well-being or comfort of other--, desire t<> alleviate suffering or promote hap- piness; love of mankind; kindli- ness of heart ; eharitableiK Letters extended; upstroke of lower loop letters turns up to right in- stead of left ; forward slope. Blues Low spirits. Last word of line descending or drooping. BOASTFULNBSS To speak ostentatiously; to bra;;; Bel forth with pride or vain glory. To possess with great satisfaction. Letters extended; capitals too high; / and d looped; large capital /. Boldness To possess audacity or fearlessness — physical or moral; daring, cour- ageous, brave; lack of proper modesty or moderation; forward, brazen ; regardless of limitations or restrictions; audacious, striking, vigorous. Letters never compressed; finals ascending to right; p made with lower point sharp and upstroke on right of stem; lines straight; capi- tals never low; stroke firm; style fixed. Bravery State of being brave; valor, gal- lantry; heroism; having or showing courage or daring under trial; in- trepid; courageous; stout-hearted. Final and cross strokes ascending to right; strokes becoming heavier to- ward end; capitals too high; hooks at end of strokes. Broadminded Liberality of belief, opinions, and toleration. Words well spaced on lines. GRAPHOLOGY Brusqueness Rough or rude in manner speech; blunt; off-hand. Small letters not smaller at end than at beginning of word; small letters a and o open; lines Btraighl ; m and ;; unlike 10 and it. Brutality State or quality of being brutal; coarseness, cruelty; savageness; a brutal or inhuman action. Small letters constantly varying in size; down strokes muddy; bach hand or vertical dopes; no incurve; letters never extended; capitals un- graceful; fff and n unlike w and u : coarse, ungraceful style. Buoyancy Power of resisting or recovering from depression, discouragement, self-depreciation, or the like; elasticity of spirits. Lines prominently ascending. Buoyancy Restrained To keep the spirits in subjection. Words more ascending than lines. Business Ability The state or quality or training that enables one to conduct an en- terprise with good judgment, thought, energy, skill, and keen foresight. Note. For Literary, Musical and Artistic Abilities refer to headings under these titles. Small letters neit her very 1< >\v n< »r very high; Strokes and loops of one line clearly separated from lines and below; small letters poinl top; punctuation carefully placed; margins never wide; / carefully crossed; letters not widely Bpaced; small tetters decreasing in use; ture strong and fluently written. Candor (Frankness) Freedom from mental reservation ; openness; the quality of frankness or outspokenness; freedom from prejudice or mental bias; impar- tiality; fairness. Small letters a and open at top; lines straight; capital D open al top. lather bIodC — backhand excepted. 134 GRAPHOLOGY Capability One possessing power or capacity to do; having adequate ability; efficient; able; qualified. Caprice (Capricious) A sudden change of mood, opinion, purpose, method, without ade- quate motive; a whim; freak; capriciousness. Well-spaced, uniform writing. Style constantly changing. Causticity (Sarcasm) The quality <>r Mate <>f being caus- tic; figuratively, biting satire or sarcasm; satirical. Small letters d and / sharply written with pointed stems. Calmness Composure; quietness; quietude; serenity; steadiness; stillness; tranquillity; feeling without agita- tion; the result of strength, cour- age, and trust. Round dots for periods; round hand; fine writing; even and generally well spaced writing; /-bars low down on stem. Carefulness Exercising care; giving close or watchful attention; attentive and prudent in home, business, or duties. Punctuation carefully placed; /is crossed and i dotted: /-bar never flying off to right of stem; left margins even; normal steadiness oi hand. Carelessness Without proper care; neglectful of danger, interest, responsibility, or duty; unconcerned; not atten- tive; want of care. Punctuation carelessly done; omis- sion of /-bars and i dots occasionally or carelessly placed. Caution Considering the consequences be- fore acting; wary; prudent; watchful; reluctant to incur dan- ger. Dashes used in place of, or additional to, periods; period after signature; capital D closed and looped at top. GRAPHOLOGY Ceremoniousness Observant of ceremony; adherence Beginning stroke with flouri to forms; etiquette; studiously polite; formal; having a formal character; characterized by eere- monv. Charity (Charitable) The spirit of charitable giving; benevolence; love and good will; kindly lenient; inclined to look on the best side. Forward slope; the incur long and extending out* Changeableness Changeful; inconstant change or vary. likely to Style of writing constantly changinj Cheerfulness A state of moderate joy or gaiety; good spirits; alacrity; buoyancy; animated by agreeable feelings; joyous; lively; cheery. Clearness of Ideas Quick perception of mind. Clannishness Having a strong feeling of frater- nity; clinging or disposed to cling together. Influence by class preju- dices; narrow in sympathy. Lines ascending. Strokes and loops of one line clearly separated from lines above and be- low; small letters pointed at top. Upstrokes of lower loop letters curv- ing well to the right Coarseness Showing lack of refinement or modesty; low; vulgar; indecent; brutish, common, ill-bred. Style of writing i- tld un- graceful; cross -tic left margin uneven. COLDHEARTEDNESS Lacking in sensibility or emotion; unsympathetic; unfeeling; indif- ferent. Backhand writing. 136 GRAPHOLOGY COMBATIVENESS The fighting or contending quality ; quickness to engage in conflict or dispute; faculty of courage; the tendency to assail ; defend ; contra- dict and take the opposite side. Either slope; letters never com- pressed; p made with lower point sharp and upstroke on right of stem; strokes firm; capitals never low; finals never ascending to the right. Command of LANGUAGE Power to obtain, use, dispi.se of or control language; a mastery. Communicativeness Ready or inclined to communicate; read\' to impart knowledge or in- formation; frank; talkative; ready to give, impart, or share; liberal. Style is easy, running hand d looped; either slope. / and Small letters d and / looped, a and o open at top. COMPANION ABLENESS The quality or state of being com- panionable; capable of being, and inclined to be a pleasing compan- ion; sociable, agreeable, friendly, amiable. Small letters m and n like w and u\ letters extended; capitals not too high; down strokes of p rounding to the left rather than pointed to the right. / bar low down on stem. Composure Tranquillity of feelings, thought, manner of appearance; calmness, serenity, repose; self-control, for- titude, courtliness. Conceit Vain conception of one's own per- son or accomplishments. Concentration The faculty of fixing one's atten- tion upon a single object. Punctuation dots round; strokes firm; /-bar not at right of stem; fi- nals descending to right; down strokes concave; capitals not low and never complicated; style grace- ful and cultivated; m and n like w and u. Words close together; capitals too high; first stroke of capital E in- flated; flourishes in writing. Small letters very low; small writing rather than large script; capitals and small letters plain without flour- ishes or ornamentation. GRAPHOLOGY Conciliation Overcoming enmity or hostility act of obtaining friendship. Strokes becoming heavier towards end with little tails added. Confidence The state or feeling of trust; feel- ing of security; self-reliance, bold- ness or courage in consequence thereof; assurance carried to the extreme. Finals or dashes HOi used to fill out otherwise blank spa Confusion of Ideas (Not meaning insanity or demen- tia.) Strokes and loops of one line entail' gled and running into the lines above and below; not well spaced writing; letters / and i frequently uncrossed or undotted; final letter to words sometimes left off. Conjugality The faculty that gives desire for matrimony. Right slope; down strokes shaded; only one form used for each letter. Conscientiousness Obedient to the dictates of con- science; loyal to conscience or duty; governed by conscience. Small letters equal size, tendi increase at end of word; mon crally in large hand. CONSERVATIVENESS Adherence to existing order of things; disinclined to novelty or alteration as of institution or methods; opposed to change; of- ten opposed to progress; a con- servative thinker; the faculty of conservation. General style of writing fixed; onlj one form used for each letter; no original st>le of letters or writing; adhering to old-fashioned style ol capitalization and forms. 138 (. k A P H O L O (i V Consistency A state of compatibility and har- All down strokes at same angle, mony of statements. Constancy Steadiness or firmness in purpose of action; calm endurance and determination; faithfulness In ser- vice and affection; certainty; veracity; assiduity; fidelity; per- severence. Style shows only one form used for each letter; all down strokes at same angle. Constraint The operation of power, physical or moral, compelling or preventing action. Unnaturalnesa in manner resulting from distrust, diffidence, or from an attempt to repress om's feelings. Syn. — Reserve. Letters compressed; a and o closed. CONSTRUCTTVKNESS Productive ingenuity; mechanical ability; constructive faculty; con- structive reasoning. Original method of making connec- tions in words; odd, unusual style of writing; capitals plain and like print. Conventionality State of being formal rather than natural; artificial character or characteristics. Copybook style of writing; no origi- nal style of letters; style fixed; only one form used for each letter; more appearance given to penmanship than to composition. Coquetry Trifling in love ; love, gratification of vanity. Up stroke of small letter d ending with graceful curve to the right. G K A P II () I. () G V Courage That quality of mind which meets danger with intrepidity, calmness, or firmness; mettle, bravery; mor- al courage to dare to pursue a course deemed right, which may incur contempt, disapproval, or opprobrium; physical courage de- pends on bodily strength or in- trepidity. Finals ascend to right; stroke firm, becoming heavier toward end ; tals too low; hook at end ot stroke Courtliness Courteous; elegant in manners; marked by dignified politeness. Down strokes concave; capitals not low; never complicated or un. ful; i dots round; style graceful and cultivated; m and n like W and u. Cowardice Giving way to fear; the state or condition of being a coward. Strokes weak ; right; writing "snappy." finals descend to IS "-crawly, " not Craftiness Skilled in deceiving others; art- ful; cunning. Words running into undulating strokes; last few letters in words un- decipherable; a and closed. Creative Power Having the power to create; pro- ductive; constructive. Upper loop letters long; letters dis- connected; original style of in writing. Credulity Being credulous; readiness to be- lieve without sufficient evidence; proneness to accept the marvel- ous; easily deceived. Capitals wide a1 base; finals soar high above word; a and • open. 140 GRAPHOLOGY Criticism The act or art of criticizing; judg- ing by some standard; formulated opinion; harsh or unfavorable opinion or judgment; censure. Small letters very low; j>ointed at top; letters connected; strokes firm; style fixed; strokes and loops of one line clearly separated from lines above and below ; capital E angular at base. Cruelty I )i>i>osition to inflict injury and pain; indifferent to suffering of others; inhuman. Vertical or backhand; never the right slope, unless in the illiterate hand; p made with the lower point sharp and upstroke on right of stem; letters never extended; m and n \w\ er like *i' and u ; no incurve. Culture Refinement of mind, morals, or tastes; enlightenment or civiliz- ation; judgment. General Btyle graceful and cultured; capitals not low and never compli- cated ; strokes and loops of one line dearly separated from lines above and below. The Greek c and d. Cunning Crafty; shrewd; artful; tricky. Small letters constantly varying in size; a and o closed tight; lines irregular; small letters pointed at top; finals never ascending to right; words running into undulating strokes; last few letters in words al- most undecipherable. Curiosity Eager concern to get knowledge of or a wish to engage the mind with anything novel, odd, strange, or mysterious; often in a bad sense — a prying disposition; the quality of being curious; delicateness; nicety. Small letters pointed at base. Finals , soar upward above word. G R A P II O L O G Y M Daring Possessing or exhibiting resolute courage; bold; brave; adventur- ous; reckless intrepidity. Lines ascending to ri^ht ; tendency to heavy writing. Deceitfulness Deception; fraud; falsity; tacki- ness ; to attempt or beguile ; inclina- tion or tendency to deceive. Small letters constant ly varying in size; lines irregular; a and o dosed; /-stem open at base. Decision The act or product of determining whether mentally or in fact; being positive and firm in one's practical judgments or actions; disposition is to prompt and steadfast action; quickness and vigor of resolution. Down strokes firm: left of stem. /-bar never .it Deduction The power, act, or process of de- ducing or inferring; that form of reasoning by which a fact, truth, or statement is inferred from a general fact, law, or principle, given as a starting point; syllogis- tic reasoning. Letters in words connected; a and o tightly closed; more likely in small, vertical, or backhand writing. Defensiveness An attitude or condition of defense; ready for defense; to act or stand on the defensive; means of de- fense; safeguard. Finals curl under to left. Defiance The act of defying; to meet in combat or contest; to demand of a person proof of an assertion or accusation; contemptuous opposi- tion or disregard openly expressed in words or action ; combativeness. Hither slope; letters never com- pressed; p made with lower point sharp and upstroke on right of stem; strokes firm; capitals never low; fi- nals never ascending to right 142 GRAPHOLOGY Deficient Musical Taste Not having an adequate liking or sense for music, lacking natural musical harmony; no ear for music. Deliberation The act i >l w eighing in the mind the reasons for and againsl a proposed measure or course of action; slow- ness and care in decision or action. Small letters angular at bottom of their last down strokes. Every letter carefully made; down strokes firm; /-bar at left of stem or carefully crossing stem ; a and o closed. Delicacy The quality of being delicate; fineness; daintiness; thai which pleases a fine taste: fineness and sensitiveness in perception, ex- pression, and action; a refined appreciation of propriety. I )i;mon.strativeness Able to prove beyond doubt; per- fectly convincing; conclusive; in- clined to strong expression of feelings or thoughts; power of clear, correct, and forcible expres- sion. Style graceful and cultivated; all attempts at flourishing rigidly ex- cluded. Upper strokes long; a and o open; / and d with wide loops; letters never compressed; letters hurrjedly writ- ten; some only half formed. Depression The state of being depressed; a falling of the spirits; low spirits, dejection; lowering of vital powers; melancholy. Descending lines; the more the lines descend, the greater is the sign ac- centuated. Designing Taste for; sense of form. Capitals made simple, graceful, and print-like. Desire for Approbation Desire for praise. Signature flourished and underscored by some form of complicated flourish. GRAPHOLOGY 143 Desire for Improvement Care; a feeling of wanting to make right; desire for perfection. Letters touched up or mended. Desire for Pleasure Lines more ascending than words. Despondency The loss of hope and courage ac- companied by mental depression; dejection of spirits, caused by ill- health, misfortune, or disappoint- ment. Lines ver\ descending; the m< lines descend, the greater the Despotism Absolute power; authority unlim- ited; control over others. Cross strokes ascending; capitals too high; strokes growing heavier toward end; hooks at end of Strokes. Destructiveness The faculty that gives the tendency to destroy; figuratively, disregard of, or assault upon, established opinions, beliefs, institutions; icon- oclasm. Capitals too high; backhand slope; down strokes firm, tending to be muddy; in the illiterate hand, ver- tical or forward slopes. Detail The faculty that enables one to go into a subject minutely and with particularization. Small writing; small letters low dots and /-bars carefully placed. Determination A firm resolve; the quality of br- ing earnest and decided; resolute- ness; firmness; the formation of a fixed purpose. Strokes becoming heavier I vm\: /-bar- long and heavy lower loop letters ending in strokes il of loops. Deviousness Out of the path of rectitude; stray- Irregular lines; (7 and n closed, ing from the way of duty. 144 CRAP H O LOG V Devotion Zealous application to any pursuit Writing very sloping; disconnected or practice; strong attachment letters, expressing itself in earnest service; ardor; zeal. Diffidence Want of confidence in one's self; Letters compressed; no flourishes; lack of trust in one's own wisdom, capitals low, cross strokes straight. judgment or ability; timidity; self- distrust; shyness; modesty; dis- trust of others; lack of confidence. Dignity Grave or noble bearing; impres- Down strokes concave; small letter siveness of character or manner: d with high stem, repose and serenity of demeanor. Dignity (Want of) Lack of repose and serenity of Down strokes convex; small letter manner. d with low stem. Diplomacy Shrewdness or skill in conducting First letter of word larger than the any kind of negotiations or social rest; letters in words decreasing in matters; finesse; tact. size; small writing; a and o closed; plain capitals. Directness The quality of being direct, and Straight base lines, straightforward; direct and open conduct. Discouragement The state of being discouraged; Descending lines, lack of spirit; loss of confidence. GRAPHOLOGY 1 45 Discretion Ability and tendency to act with prudence; instinctive perception of what is wise and proper, united with caution; the habit of wise judgment; sagacity. First letter of words larger than the rest : a and o dosed. Dishonesty Faithlessness; a disposition to be false, unjust, untruthful in one's character or actions; any devia- tion from probity or integrity. Irregular lines; small letter- stantly varying in axe; a and tightly closed; base of letters a, 0, d, g, open; wavy base line. Disorder Lack of arrangement or system; without method; disregard or neglect of orderliness, rule, or conventionality in general. Many letters illegible; left margim uneven. Display (Love of) Ostentatiousness. Flourishes in writing. Dissimulation The act or practice of feigning; false show or pretense; deceit. Distrust Disposition to withhold confidence, reliance, or faith; lack of confidence in the power, wisdom, or good intent of others, or in the safety or sufficiency of any thing or action; doubt; suspicion. Irregular lines; small letter- stantly varying in sire; <:. o t 1 last letters of words undecipherable, dwindling into mere stroke-. Hast} writing. Finals long only to fill otherwise blank spaces. Docility The quality of being docile; amen- Words not con nected; Croat Strokes able to training- easy to manage; never point downward; CapitaU tractable. never too high; words will 146 GRAPHOLOGY Domineer To exercise authority in an arbi- trary way; rule with insolence or unnecessary annoyance; to be overbearing. Unconscious shading; strokes. heavy down Dullness of Perception State or quality of mind that does not perceive quickly. Small letters rounded at top. Eccentricity Oddity; peculiarity; idiocyncrasy, either of taste, disposition, or ac- tion. Eccentric style of letters and writing; second or third stroke of capital M higher than first two strokes. Economy Disposition to save or spare; care- fulness in outlay; frugality; econ- omy in words or in dress; freedom from extravagance or waste. letters written close together; no left margin, writing is close up to edge of page. Effusiveness Demonstrativeness; overflowing with sentiment; gushing. Letters a, 0, open; t and d with wide loops; letters never compressed: letters hurriedly written; some only half formed; upper loop letters long. Egotism Conceit; egoism; self-assertion; self-conceit; self-confidence; self- consciousness; self-esteem; vani- ty; self-exaltation; the habit or practice of thinking much of one's self. Capitals too high for body of writ- ing ; tendency to ornamental writing, flourishing, and effort to elaborate on the capital letters. Elegance of Mind Refinement; gracefulness; polish; elegance of proportion, motion, style or manner. Graceful writing. and cultivated style of G B A I'HOLOO V 47 Elevation of Thought Aspiration; state or condition of being elevated; exaltation; as of the mind or of material things; elevation of thought, of style, of feeling. Down strokes lightly made; / ings ascending. Emotions Unusual or disturbed movement of the feelings; feelings aroused by pleasure or pain, activity or re- pose; may be regarded as simple or passionate emotions. Strokes becoming lighter toward end Energy Haste; zeal; activity of mind; vivacity; force; potency; vigor; habitual tendency for effective action; intensity and forcef ill- ness in spirit and conduct; capacity for performing mechanical work. Speed of writing energetic; letters hurriedly written, some only hall formed; /-cross at right of stem; / and d looped; letters extended; angular hand or, if in round hand, m and n like w and u. English Trait This trait is chiefly found among Anglo-Saxons lacking literary training. Finals of abbreviations, such as r in Mr., Mrs., Dr., etc, raised above base line; /-crossing looped low dot D on stem. Ennui Mental weariness produced by satiety or lack of interest; a feeling of listless tiredness; disgust or weariness; tedium. Lines more descending titan the words in the line. Enthusiasm Ardor; earnestness; ecstacy; fer- vency; inspiration; intense and rapturous feeling, felt or displayed. Upper strokes long; down strok.- shaded; en— strokes never 6t tog. i 4 8 GRAPHOLO (- V Erratic A peculiar or eccentric person; not conforming to rules or stand- ards, or to what is considered pro- per; irregular conduct. Uneven writing; variable size of letters; irregular spacing of lines: diffused writing. Erotomania Mental derangement caused by love for opposite sex; love sick- ness; exaggerated or uncontroll- able sexual desire. Right slope; muddy, hasty appear- ance of writing; /-bars to right or flying off stem; down strokes par- tially shaded; cross strokes heavy. EXACTING Disposition Making unreasonable or burden- some demands; severe in require- ments; oppressive; compelling; strict application. Heavy writing; large or medium hand; down strokes shaded; t- bar dashed across the stem, some downward. Exactness Precision; perfectly conforming to a standard; strictly accurate or correct; to conceive or express ac- curately or precisely; exercising strict care or attention; methodi- cal. Punctuation carefully placed; every letter carefully made ; /-bar carefully crossing the stem. Exaggeration Extravagantly or untruthfully pre- sented ; overstatement. Long loops and strokes that extend to line below; excessively long loops. Exaltation Exuberance; a morbid mental state distinguished by ecstatic joy; abnormal optimism or delusions of grandeur; exalted sentiments. Lines very ascending. Excitability Liveliness; the quality of being Dashes used for periods that are excitable; susceptibility to excite- much elongated and quickly made, ment. GRAPHOLOGY 149 EXCLUSIVENESS Reserve, of a nature or tendency Letters compressed; ,1, <>, <1 that disposes one to limit social relations. Executive Ability (See Business Ability) Extravagance Excess; undue expenditure of Diffused hand, letters and v. money; profuse lavishness; prodi- widely spaced; margins wide; usu- gality; lack of moderation; ex- ally in large writing, travagance of language, dress, out- lay, ambition, or passion. Exuberance (See Exaltation) Exaltation. Lines very ascending. Faithfulness Constancy; fidelity; loyalty; the Only one form used for each letter. quality of being faithful, true, trustworthy in the performance of duty. Fancy Imagination; to suppose or believe Upper strokes long; (-bar above without substantial grounds; ini- stem, to right; bar sometimes agination. other times short, now and then a mere dot. Fastidiousness Fussiness; hard to please; easily Small letters very low; puncfi repelled or disgusted; over-nice; very carefully placed squeamish; finical. Fatalism A disposition to accept every event Final strokes to words descending or condition as preordained or con- vertically. trolled by destiny. 150 GRAPHOLOGY Fear Timidity; to regard with dread, fright, or terror; to be apprehen- sive or afraid ; desire to avoid dis- pleasing; to doubt; to be anxious about; to suspect Pinal strokes descending to right; strokes not weak. Feebleness Illness; lacking muscular power; weak from disease or age; debili- tated; frail; decrepit; infirm; weakly; sickly. General style unsteady; tendency of lines to descend ; upstrokes weak and unsteady. Feeling Sensitiveness; the capacity to feel deeply; refined sensibility shown in tenderness or ready sympathy. The incurve (an initial stroke carried to the left of the letter before begin- ning the letter itself); usually seen in the capitals M, N, U, C, E, K, and in some of the small letters. Ferocity (See Brutality) Fickleness Inconstancy; the state of being unduly changeable in feeling, judg- ment, or purpose; worrying; in- constant; capricious. Frequent changes in the form of several letters. Finesse Subtle contrivance used to gain a point; artifice; stratagem. Small letters smaller at end of words than at beginning; hasty writing. Firmness Firm will; the quality or state of being firm; solidity; steadiness; resoluteness; constancy; courage; the faculty that gives stability, per- sistency, and obstinacy. Down strokes firm; y and g ending with stroke and occasionally ending with tiny hook. GRAPHOLOGY 151 Flattery Trying to influence another by the use of false or excessive praise; insincere complimentary language or conduct. Flightiness The state or quality of being flighty; of a capricious or giddy nature or tendency; given to light- headed fancies or caprices; vola- tile in speech or conduct; slightly delirious. Flirtatiousness Coquetry; to act with giddy or trivial lightness; jeering or scoff- ing. Fluency of Speech Command of language; the qual- ity of being fluent; ease of speech or expression. Fluency of Thought Speaking or writing with facility. (Practically the same quality as Fluency of Speech, except that ideas or words flow more readily.) Forgetfulness A complete ceasing to remember; being apt to forget; negligent omission; inattention. Small round letter- loops. d and / with Uneven, straggling hand; variable size of letters; a and open. Forward slope; small letter d made with final upstroke turned gracefully to right; CTO6S stroke- bctoU Bhape; strokes generally weak. Easy running hand; d and / looped. Easy running hand; small writing; usually in the vertical; plain capitals not high. i and j seldom dotted; / uncn letters left out of word-; punctua- tion carelessly done or omitted. Form (Sense of) The nature of a thing as perceived by the senses or the intellect ; the instinctive ability to distinguish kind, state, or variation; the men- tal image or subjective view of an object highly developed. Capitals simple, graceful, and print- like; cross Btrokes Bhaded. I.S2 (i R A P II O L G V Fortitude Strength or firmness of mind to endure pain or adversity patiently; patient and constant courage; en- during courage. Frankness Candor; quality of being frank; ingenuousness; to be outspoken; without concealment. All down strokes firm with final; ascending to right ; /' dots round. Small letters a and open. Friendliness Good will; the state or quality of being friendly; accessible, affable, amicable, cordial, sociable. Letters extended; m and ;/ like and 11. Frivolity Levity; a trilling act, thought, Baying, or practice; frivolousness. Fun (Love of) To indulge in fun; make sport; jest; the state or quality of being gay; doings prompted by spirit of light-hearted ness. Fussiness Fastidiousness; making much ado about small matters; fidgety; fretful disposition. Crossing of letter / scroll shape. /-crossing scroll shape with lines ascending. Small letters very low very carefully placed. punctuation Gaiety State of being gay; inspired by spirit of merriment or light- hearted ness; fun. /-crossing, scroll shaped. Garrulity Constant, trivial talking; habitu- ally talkative; chattering; to talk overmuch. Upper strokes very long; / and d with wide, inflated loops; a, and 0, open; b with initial "tick" at be- ginning of stroke. G R A P II o i. o G V [53 Generalization A general inference; an induction; notion, rule; thinking in terms of the concept or schematized idea. Small letters high. Generosity The quality of being generous; liberality, as of sentiment or con- duct; a disposition to give liber- ally or bestow favors heartily; the act of giving freely and kindly. Finals long, but not -il\ to fill otherwise blank spat e& Generosity of Affection Upstrokes of lower loop letters turn up to right instead of left. Geniality Amiability; the quality or state of being genial; kindliness of disposi- tion. Gentility The quality of being genteel or well-bred; refinement of manners. m and n like w and //; letfc tended; capitals not too high; Btyk not eccentric; down strokes rounding up to the left, rather than pointed to the right. Style graceful and cultivated Gentleness Softness and sweetness of disposi- tion; mildness; docility; absence of roughness. /-cross close down on stem; punctua- tion carefully placed; round hand; vertical or right slope; fine writing; slow, easy style. Gluttony The act or habit of eating to ex- cess; gourmandizing; one who indulges in anything to excess. All down strokes mudd> , Usually in large hand; either slope; writing. Gossip Prate, tattle, chat, idle or familiar talk. d and / with wide loop-; .: and open; stroke- \ lit dope. 154 GRAPHOLOGY Graciousness Courtliness ; kindly condescension ; affability; courteous bearing; mer- cifulness; graceful or attractive quality. Down strokes concave; capitals not low; never complicated or ungrace- ful; dots round; style graceful and cultured; m and n like w and u. Grandeur The combination of exalted quali- ties in a person, that impresses the mind with a sense of imposing dignity or greatness; nobility. Small letters high; down strokes concave; words well spaced; every letter carefully made; capitals never low; lines straight; small letters equal size; style never coarse. Grief Sadness; sorrow or mental distress. Lines descending; sub-normal stead- iness. GUARDEDNESS To exhibit caution; to be careful or circumspect in one's remarks. Dashes in place of periods; period after signature. Haste Celerity of movement; unseemly quickness of action; turned celerity; hurry. Hasty writing; some letters only half formed; /-cross at right of stem. Haughtiness The quality of being haughty; expressing in speech or manner a high opinion of self and contempt for others; proud and disdainful; arrogant. Syn. — Austere ; cold ; contemptuous; distant; insolent; suily; unapproachable. Capitals too high; down strokes con- cave. Health Freedom from sickness; bodily Normal steadiness; lower loop let- soundness; good physical condi- ters long; down strokes shaded; ti on> strokes firm; p short above, long below. G R A P h () I. o (, v Heart and Head (Struggle between) Loop letters at different angles. Heart Trouble Any morbid condition of the heart Strokes notched at top of letters. whether organic or sympathetic. Heedlessness Giving no heed; careless; thought- Punctuation carelessly done. less. Hesitation The act of hesitating; suspension of opinion; uncertainty; slowness of speech with pauses between words, arising from awkwardness, timidity, or indecision; a faltering of mind or speech. Strokes weak; /-cross at left of variable size of letter-; <>nc or more letters in a word written distant from the previous or succeeding letters. Honesty (Uprightness) To act justly and honorably; truthfulness; fair and candid in dealings. Small letters equal size; lines straight; vertical or forward slope; a and o open; d high; last letter in word larger than first. Hopefulness Having qualities that excite hope; promising success; desiring with confident expectation. Lines ascending; finals not used to fill otherwise blank spa< I upward. Humility Humble; a modest sense of one's own merit; state of mind without arrogance. Round hand; capitals low. Humor A facetious turn of thought; play- ful fancy; fun. Finals turned up. easy running hand; letter^ extended; / b.tr shaped. 156 (iRAPHOLOGY Hypocrisy Simulation or feigning to be what one is not; acting a false part; a deceitful show of good character, or counterfeiting a virtue; ex- treme insincerity; dissimulation. Letters broken at base; last few letters in a word undecipherable; hasty, indistinct writing. Iconoclast Disregard of, or assault upon, established opinions, beliefs, or institutions; one who assails tra- ditional beliefs. Capitals too high; down strokes firm and muddy; uneven writing, gener- ally in backhand script. Ideality The condition of being ideal, un- real, or imaginary* the jH)wer or tendency to form ideals. Upper strokes long; letters discon- nected; original style of letters or words. IGNORANCE State of being ignorant; lack of knowledge in general; want of information on topics embraced in the common knowledge of the world. Coarse and ungraceful writing; punc- tuation incorrect or absent; spelling imperfect; slow writing, usually in large hand. Illness The state of being sick or ill ; bodily indisposition; disease. Sub-normal steadiness; scending. lines de- bt agination The act or power of combining the products of past experience into modified, new, or ideal forms; the constructive or creative faculty. Upper strokes long; stem. /-bar above Imitation Faculty of imitating, that gives the abilitv to copy and conform. Cross strokes pointing upward. GRAPHOLOGY Immorality The quality or condition of being immoral; vice; wickedness; lack of purity; licentiousness. 157 Tendency to h< ihaded writing; muddy appearance of writ- ing; either sic heavy una!) script. Impatience Lack of patience; restless eager- ness for change or for the accom- plishment of things; intolerance of opposition or control. Impenetrability The quality of being impenetrable in any sense. Hasty writing; /-bar dashed off to the right; letters begin with straight, inflexible stroke; finals downward, sometimes ending with tiny hook. Signature stroke. inclosed by bwi • Impetuousness Spontaneous or inherent energy, passion, or feeling; rushing with force or vehemence. Syn. — Ex- citable, fiery, hasty, headlong, impulsive, passionate, rash, swift, quick. /-bar always at right of stem. Importance Weight or consequence in the so- cial scale, in public estimation, or in self-esteem; pretentiousness. Signature larger and different than body of writing. I M PRACTICALITY The state of being impractical. Margins wide. I MPRESSIONABLENESS Subject to or susceptible of impres- sion; easily impressed; emotional. Writing very sloping to right connected letter-. dii Improvidence The state or quality of being im- provident; lack of foresight or thrift. Margins wide: letters widel) punctuation carelessly done. 158 G R \ P 1101,0 r, y Impulsiveness The state of one actuated or liable to be actuated by impulse rather than by reason; unpremeditated. Inactivity (Physical) State or quality of being inactive; idleness; passiveness; sluggish- ness; lacking especial exertion or effort. Iv\i i i:\iion Lack of attention; neglect or failure to concentrate the mind upon or give heed to something. /-bar at right of stem; forward slope; disconnected letters. Lower loop letters short; round hand; / weakly crossed; /-bar weak. letters omitted in words; small let- ters j and j undotted; t uncrossed; uneven writing; left margins un- even. [nconsistem V Not consistent: logical incompati- bility; contradiction or contrari- ety; Inconsistent in an opinion, idea, act, or the like. Inconstancy Instability of affection or temper; fickleness; not uniform. Incredulity Incredulous; a withholding or re- fusal of belief; indisposition to believe; skepticism. Down strokes in same word at dif- ferent angles; variable size of let- ters. Several letters made in different forms throughout the writing. Capitals narrow at base. INCURIOSITY Lacking curiosity; uninterested; Small letters rounded at base, indifferent; devoid of curious or interesting qualities. Indecision Want of settled purpose or resolu- tion; failure or inability to form a judgment, or decide on a course of action; indetermination; irreso- lution. Strokes weak; /-bar at left of stem varying size of letters. (iKAI'MOLOGY 159 Independence Free from dependence upon others for guidance; self-direction or self- support; a spirit of self-reliance. Strokes firm; original style of letters or words lines straight; capitals not low; finals never descending to right. Indifference Unconcerned, indifferent, apathe- tic; lack of interest or feeling re- garding what is presented to the mind. Cross strokes descending. Indifference to Luxury Lines close together; not well- spaced writing. Individuality Individual or distinctive charac- ter; personality; the connected development of the activities char- acteristic of a person. Original style of letters or form ol words. Indolence Indisposition to exertion, arising from love of ease; ness; laziness. habitual idle- Writing slowly drawn; large, round hand; / uncrossed or those that are crossed made with curved bar, with ends turned downward. Industry Habit of attention; devotion to any useful or productive pursuit, work, or task, manual or mental; earnest, steady, or constant appli- cation to business. Angular, small hand; vertical, me- dium hand, with pointed tope; ener- getic writing; /-bar cither earefulK placed or at right of stem or aCTOM stem. Infidelity Lack of fidelity; unfaithful to a trust, duty, or vow; untrust- worthiness. Letters broken at base; | muddy down strokes; dosed a and 0; looped 0. i6o GRAPHOLOGY Ingenuity The quality of inventive power; cleverness in contriving, combin- ing, or originating; aptness; skill; intellectual ability; talent. Original method of making connec- tions of letters and words; odd or unusual style of writing. Ingenuousness Candid; frank or open in char- acter or quality; free from reserve, disguise, equivocation, or dissimu- lation. Small letters larger at end than at beginning of word; a and o open. Initiative The power to originate or start; the aptitude to develop or under- take new enterprises; the power of initiating. Usually in vertical hand; well- formed letters; uneven writing; let- ters disconnected; natural shading; lower loop letters ending in stroke and tiny hook; joining two letters by an original cross stroke: / heavily or carefully crossed — some upward. Inquisitiveness Addicted to investigation or re- search; inclined to the pursuit of knowledge; given to questioning; prying into; curiosity. Letters with oblique angles at base; Greek e; sharp base line. Insanity (See Unbalanced) The principal forms of insanity are : delusional, dementia, mania, mel- ancholia, and paranoia. Grapho- logically defined, insanity is a deranged mental condition such as deprives a person of the capacity to comprehend the nature and consequences of a particular act; morbid condition of the mind. Diffused writing; letters illy formed; uneven writing — straggling over the line; lines crowding each other; low- er loop letters extending into lines below; not well-spaced lines; small letters constantly changing and vary- ing in size; /-crossings weak. Note. The writing of an insane per- son may vary from the above, ac- cording to the form of morbidity. G B \IMIOLO(,V IM Insight Power or faculty of acute percep- tion or understanding; intellec- tual discernment; penetration; intuition — whether that power is regarded as a general inner faculty, a special capacity for, or the gift of, mystical vision. Small letters pointed at top; I ttected letters; hue u riling; high capitals. Insincerity Lack of sincerity; duplicity; dis- simulation; deceitfulness. Backhand writing; decreasing letters; hasty writing. Insistence The act of insisting; be persistent. urgency; to Down strokes all shaded; /-bar heavy; tiny hook at final letter y. Instinct A natural or acquired aptitude or tendency; a sense of what is fitting whether natural or acquired. 1 )i>mnnccted lei Insusceptibility Lack of susceptibility; incapacity to feel or to receive; unimpressi- bleness. Vertical writing tending to the lu< k hand. Integrity Uprightness of character and soundness of moral principle; hon- esty; probity. Straight base line; inartistic writing: last letter in word larger than increasing aire of letters in words; uniform writing. Intellectuality Quality or state of being intellec- tual; possession of intcllcctu.il force or endowment. Small writing; (/-final curved U] 62 GRAPHOLOGY Intuition Quick perception of truth without conscious attention or reasoning; knowledge from within; instinc- tive knowledge or feeling. Disconnected letters; ascending lines on a straight base line. Irresolution Lack of resolution or firmness of purpose ; want of decision. Strokes weak; /-bar at left of stem. Irritability The state of being irritable; sus- ceptibility to anger or impatience. Periods much elongated; /-bar at right of stem and weakly made. Jealousy Any exercise Of B jealous feeling; apprehensive or suspicious of being outdone; distrustful as to fidelity of another; fearful; doubtful. Forward slope; the incurve empha- sized by finals dwindling to right. Jocosity Jocular; sportive; given to, done, Cross strokes or made, in jest. ascending. scroll shape; lines Judgment The mental act or attitude of de- cision with which the processes of observation and comparison are terminated. Letters connected; strokes firm; style fixed ; strokes and loops of one line clearly separated from lines above and below. Judgment (Lack of) Justice (Sense of) Adherence to truth or fact; fair- ness; the quality of being just; strict uprightness; rectitude; hon- esty. Uneven lines. writing; not well-spaced Lines exactly equidistant. G R A P H L G y Keen Minded Acute; astute; calculating; clev- Top of letters pointed; tenden er; ardent; knowing. angular hand. Kindliness Kindly disposition; the quality of Right slope; m and n like w and it; being kind. finals never cut short. Knavery The character or actions of one Small letters a and o, tightly closed; who is deceitful in dealings; lines irregular; small letters roguery; dishonesty; fraud; cun- stantly changing in size; small ning; a mean scoundrel. letters pointed at top; finals never ascending to right. Lack of Poise Without poise; to be destitute of, Uneven, straggling hand; variable without, or in want of; erratic. size of letters. Language (Command of) Power to obtain, use, dispose of, Style is easy; running hand; / and d or control; a mastery. looped. Lavishness Spending or bestowing extrava- Letters width Bpaced. gantly, either money, speech, or actions. Laziness The state or quality of being lazy; Round hand; writing Blowly drawn. idleness; inactivity; indolence. Levity Lightness of humor or tempera- Crossing of Utter t scroll b1 ment; lack of mental gravity ; want of seriousness or earnestness; Iri- volity. Liberality The quality of being liberal or Finals long and horiaontal. generous; disposition to bestow abundantly; mental broadness or comprehensiveness; freedom of opinion or utterance. 16 4 G RAPHOL (i V Liberal Mind Free from narrowness or bigotry Finals long; words well spaced, in ideas or doctrines. Literary Taste Versed in or devoted to literature; a liking for literary work or worthy of literature in the highest sense. Small writing; Creek e and d. Logic The science or doctrine of correct thinking; a right use of thought or the rational powers, or the habit or gift of using then rightly; de- duction; a natural and inevitable Conclusion from any .set of circum- stances or facts. Small writing; connected letters. Loquaciousness (Sec Garrulous) Given to continual talking; talk- ative; chattering; one apt to disclose secrets. Small letters d and / with wide loops; upper loop letters long; a and open. Love Affection; to have a feeling of af- fection or regard for; to entertain a feeling of tenderness or passion inspired by the sexual relation. Right slope — the more slope t he- greater the susceptibility; long lower loops. Love of Admiration An emotion of approbation of self; pleased or gratified contemplation of self. Signature made with, or embellished by flourishes. Love of Display Ostentation. Flourishes used in writing. Love of Ease Round hand; right slope; slow hand. G R A P ii o L o G v Love of Fun The state or quality of being gay; /-crossing scroll shape with doings prompted by spirit of ascending, light-heartedness. Love of Luxury Love of the Marveloi Lines widely spared; round hand; shaded writing. Finals ascending vertically above word. Loyalty Loyal; hearty service in friend- Only one form used tor each Utter; ship, business, or love, or in any fine writing; straight lines. cause. Lucidity To be lucid; intellectually bright and clear; mentally sound; sane- ness; perspicuity. Strokes and loops of one line dead) separated from lines above and be- low. Magnaminity Generosity in sentiment or con- duct toward others; loftiness of character or action ; large hearted- ness. Malice Hate; a disposition or intent to injure another or others for the gratification of anger, jealousy, hatred, revenge, or the like. Small letters high; down Btrokea concave; words well spaced; letter carefully made; capitals never low; style never coarse or ui - ful; lines straight; small letters equal size. Vertical or backhand; p made with the lower point sharp and Upstroke on right of stem; Utters in- tended;;;; and n. unlike :c; and u; no incurves. Managerial (Manager) Of, pertaining to, or characteristic of, a manager; one having the Small letters neither \er\ loWDOf very high; strokes and loopfl oi die line 1 66 GRAPHOLOGY ability to manage; a person skilled in financial or business manage- ment. Masterful Having the characteristics or force of a master; able to control; in- dicative of the power, skill, or tem- per of a master. clearly separated from lines above and below; small letters pointed at top; punctuation carefully placed; margins never wide; / carefully crossed; letters not widely spaced; small letters decreasing in size; un- conscious, heavy shading; signature fluently written. Heavy, firm strokes; plain capitals; tendency to small writing; /-bar carefully placed across the stem; t- bar heavy and long. Mathematics (Taste for) Liking for mathematics. Figures well, and gracefully, formed; numerals 7 and o. with final strokes ending gracefully below the line. Matter of Fact Nature A nature comparing to absolute Finals turned down. reality; not fanciful or imaginative. Mechanical Tastes Original method of making connec- tions Mediocrity The quality or state of being medi- ocre; medium or merely common- place ability. Copybook style of writing; awkward or ornamental capitals. M EDIT ATI VENESS Given to serious reflection; and thoughtful disposition. quiet Small letters very low; / and d with- out loops; round hand. Melancholy Morbidly gloomy; sad and down- hearted; depressed in spirits; de- jected. Descending lines. GRAPHOLOGY I67 Memory The general capacity or function of mentally reproducing previous experiences. Letters i and j closely dotted; I carefully crossed; careful punctua- tion. Method Systematic order; regularity; or- derly arrangement; system. Every letter legible; usually small hand; neat, uniform writing, well spaced; right margin even; capital- plain. Mildness Moderate in action or disposition; tender, gentle, kind ; not severe or cruel. Round, forward hand; fine writing; /-bar dose down on >iem. Mimicry The act or art of imitating, espe- cially for sport or in ridicule; sim- ulation. Cross strokes pointing upward. Mind (Activity of) Broad mind; elegance of mind; liberal mind; scientific mind. Small writing; letters hurriedly writ- ten some only half formed; /-bar on right of stem. Minutiae Small or unimportant details; smallness; very exact detail. Small letters low. but not meaning small writing; capitals -in. ill; small Inter- pointed at top. Mirthfulness Full of mirth or merriment; merry festive; gaiety. Cross strokes scroll Bhape; lit cending. Miserliness Miserly disposition or nature; to save and hoard; avaricious. Letters crowded together; anal let- ters hardly finished; hooks at end oi Btrokes; vertical or fine right punctuation careful!) plaa d. 1 68 G K A V II () I. O G V Mistrust To regard with suspicion or jeal- ousy ; to suspect ; doubt ; lack of a >n- fidence. Mobility Characterized by ease or freedom of motion; to change easily in ex- pression or in state of mind. Modesty State or quality of being modes t; freedom from boldness or forward" ness; unobtrusive; delicacy <>r purity of thought, character, feel- ing, or conduct. Moods {See Changedbleness) Morbidness Being in a diseased or abnormal Btate; not sound and healthful; denoting a diseased or unsound condition of body or mind. Muscularity State or quality of being muscular; one possessing well-developed mus- cles; powerful; vigorous. Musical Full of music; capable of produc- ing music, inspired with or attach- ed to music; having a taste or talent for music. Musical Sensuousness The quality of being keenly suscep- tible to the pleasures of music through the senses and a sensuous imagination, whether of the physi- cal or aesthetic order. Finals long and only to fill otherw ise blank spaces, Style constantly changing; uneven writing; /-bar to right of stem. Absence of all flourishes; inartistic writing; plain capitals. I descending lines; d with wide loops. NOTE. Normally descending lines .ire not always indicative of morbid [less; the descent must be unusually M«, with what would appear to be ■'careless or indifferent" writing. />-stem short above, long below, looped; strokes firm. Small letters curved at the bottom of their last down strokes; long lower loops; even swing of pen. Small letters curved at the bottom of their last down strokes; even swing of the pen; cross strokes shaded particularly at the base; long lower loops. GRAPHOLOGY Musical Taste (Deficient) Small letters angular or sharp at bottom of their last down Btrol Narrow Mindedness Limited in scope; not broad or Words dose together— crowded liberal in views or sentiments; ing. bigoted. Neatness Strict order; cleanliness and nice- Style neat; small writing— or at ty; to be neat. least not large and coarse; neat, uni- form writing; well-spaced words and lines. Negligence The act of neglecting; disregard Punctuation entirely omitted. for appearances or for convention- alities. Nervousness Easily disturbed or agitated owing to weak nerves; excitability; tim- idity; abounding in nerve or nerve-force; manifesting bodily force or vigor; exhibiting or char- acterized by mental force and with strong sensibilities; pertaining to a temperament characterized by a preponderance of the mental over the physical. Angularity of the writing, while not necessarily the angular hand; Btrokes tremulous, characterized l>> the agitation that usually attends mental excitement; more generally ol in the lower and upper loop letters. Nimble Witted Quickwitted, a ready mind. Nobility Dignity and grace of character; not selfish, cowardly, or mean; high minded. Angularity ol the writing; I small letters pointed; D8 - Small letters high; down strokes concave; words well spa letter carefully made; capitali low ; style not coarse; lia small letters equal rise* i;o GRAPHOLOGY Notional Existing in imagination only; vis- ionary; not real; fantastical; ideal; given to hobbies; whimsi- cal; fanciful; possessed of, or influenced by, pet ideas. Obedience Submission to; compliance with a command or duty; the ad or habit of yielding willingly to restraint. Observation The act, power, or habit of observ- ing or taking notice; the ait of perceiving or fixing the powers of sense or intellect on anything. Obstinacy Stubborn adherence to purpose, opinion, or course of action, ari-in^ from the desire to have one's own way, and generally somewhat unreasonable; stubbornness; un- yielding; difficult to control or subdue. Lower loop Utters long (must be characteristic of the writing). Capitals low; /-bar close down on stem; strokes not firm. Connected letters; /-bar very short and placed squarely across the stem. Words connected with sweeping dashes; unconscious shading of down strokes; f made with stroke instead of loop; / heavily crossed; usually downward; finals end with hook and downward. Oestrual (See Erotomania) Being under the influence of erotic impulse; uncontrollable sexual desire. Opinionated Unreasonably or stubbornly per- sistent in opinion; unduly at- tached to one's own views; con- ceited. Angularity of writing; tops of letters pointed; down strokes heavily or coarsely shaded; general appearance of writing muddy; / and d have in- flated loops; lower loop letters long; tendency to ornamentation of capi- tals. Tendency to conventional writing; connected letters — and sometimes the words; /-bar crossed downward — snappishly; final strokes of small letters d and t below line; hooks on final strokes. G R A P II o LOG V 171 Optimism Disposition to take the most hope- ful view or to look on the brightest side of things; the belief that whatever occurs is for the best and is right and good; sanguine tem- perament. Lines ascending;strong down strokes Orderliness Having regard for method and ar- rangement; methodical; syste- matic. Every letter legible; well spaced writing. margins even; Organizer One who has the ability to bring into systematic connection and cooperation as parts of the whole; to prepare for transaction of busi- ness; one having the ability to organize. Usually vertical hand; tops pointed; hasty, uniform writing; lines well spaced; capitals plain; lower loop letters finish with stroke, or long loop. Originality The power of producing new con- ceptions, inventions, etc.; the quality of being novel or of having mental freshness and vigor; oddity. Original style of letters and connec- tions; variable size of letters (not uneven writing.) Ostentation The act of displaying ambitiously; display dictated by vanity. Flourishes. Painstaking Taking pains; giving, or charac- terized by, careful attention ; scrup- ulous and faithful in performance; diligent and accurate work. Uniform writing; onlj orn used for each letter; pun< I carefully placed; well-spaced wilt- ing. Parental Love Love of parents. Right slope the left finals curving • ■■ 172 GRAPHOLO G Y Parsimony Excessive saving; extreme econ- omy; closeness; stinginess. Partiality Inclination to favor one side of a question more than the other; an undue bias of mind toward one party or Bide; unfairness; bias. Particularization The act of enumerating the details or particulars of; paying attention to particulars or details. Passionate Capable of, or inclined to. strong passion; excitable; easily moved to anger; quick tempered. Passtvbnbss Being passive; inaction; passive submission in obedience or suffer- ing; calmness, placidity. PATIENCE The quality or habit of being pa- tient; possessing perseverance and untiring energy; ability to await events without perturbation or dis- content; not in haste. Letters crowded together; final let- ters hardly finished; hooks at end of strokes; usually in vertical hand; punctuation carefully placed. Lines unevenly spaced. Small letters low. Angularity of writing; variable size of letters; uneven writing. Round hand; vertical writing, tend- ing to right slope; the latter is more general with women. Initial strokes absent; neat, uniform writing; tendency to small writing. Peaceableness Inclined to peace; not quarrel some. p made with round turn and upstroke on left of stem; round hand. Penetration Ability to penetrate mentally; acuteness; sagacity; discernment; acumen. Small letters pointed at top. Discon- nected letters. <■ R A PHO L o G V 173 Penuriousness Excessively sparing or saving in Letters crowded together; final the use of money; yielding Utile; letters hardly finished; hooks a! end not liberal. ( ,f strokes; punctuation carefully placed. Perception (Dullness of) {See Dullness of Perception) Small letters rounded .it top. Perfection (Desire for) {See Desire for Improvement) Perseverance Act, quality, or habit of persever- ing; steadfast pursuit, or prosecu- tion of a resolution; persistence in purpose and effort. Letters mended or touched up. Hooks at end strokes; v and ing in strokes instead of loops; initial strokes absent. Persistency The mental quality of being per- sistent; obstinate resolution; te- nacity; doggedness. Hooks at end of strokes; v and g ending in strokes instead of loops; initial strokes absent. Perspicuity Clearness of perception or style; the logical method of conveying an author's meaning unmistak- ably; freedom from obscurity, intricacy, or ambiguity; lucidity. Small letters pointed at top; usualK in small writing <>r smaller than medi- um; connected let; Pertinacity Persistent tenacity of purpose; Words connected. unyielding adherence; dogged per- severance. Pessimism A disposition to take a gloomy or despairing view of affairs; ten- dency to look on the dark side; a habit of anticipating failure or misfortune; depreciating good; imputing evil. Lines descending. 74 G RAPHOLOG Y Pettiness Meanness; small ncss in action or Small letters very low; words close spirit; to be petty. together. Petulance Impatience; capaciousness; tern- Dots much elongated; /-bars at right porary peevishness; fretfulness. of stem. Philanthropy Disposition or effort bo promote Letters extended; upstroke of lower the happiness or social elevation of loop letters turn up to right instead others; comprehensive benevo- of to left; right slope. lence; love of man. Philoprogenitiveness The love of offspring or the faculty Right slope; finals curling over to of it; a tendency to pet or foster left. dependents. Physical Activity Lower loop letters made with stroke and long; angularity of writing; strokes firm. Physical Inactivity Physical Weakness (Not illness) Lower loop letters short below and longer above. p-stem long above and short below. Pleasure (Desire for) Lines more ascending than the words. Poetic Taste Disconnected letters; long / loops; w rounded, emphasized by a lasso stroke. (i K A P H o LOG V 175 Poise The state or quality of being bal- anced ; equilibrium ; rest. Round hand; a and dosed; Bmall to medium sized writing. POSITIVENESS Openly and plainly expressed; explicit; not admitting of doubt or denial; incontestible; free from doubt or hesitation. Angular writing; heavy strokes; /-bar heavy and club shaped; lower stroke of p pointed and turned up on right of stroke. Practicality The quality of being practical; one said to be trained by, or in, practice or experience ; opposed to ideal. Margins absent, tending to angular, vertical writing; neat, uniform, well- spaced writing; lines straight ; con- nected letters; / stroke instead of loop. Precipitousness Headlong in disposition or hasty in action; rashness; the act of urging a matter forward prema- turely or inconsiderately. /-cross dashed off to right of, and above, stem. Precision To be precise; the quality of style that expresses exactly and clearly what a writer or speaker intends. Neat, uniform writing, every letter carefully made; / carefully a punctuation carefully placed; tin tendency is to small writing, or leas than medium. Presumption Blind, headstrong, or over-weening confidence or self-assertion; ven turesomeness in undertaking some- thing without reasonable prospect of success, or against the usual probabilities of safety; the act ol forming a judgment on probable grounds; assuming too much. Strokes firm; capital.- tOO usually in Hi*- vertical hand larger than medium in sise. 1 7 6 GRAPHOLOGY Pretension A claim assumed or advanced, whether false or well-founded as to possession, right, dignity; to pretend. Capitals loo high; flourishes. Prevarication The act of provoking an action or a quibble or misleading statement, intended to deceive, or u seeming denial or affirmation that is not express falsehood. Letters in each word are decreased in size — the last letter being smaller than the first letter in the word. Pride I treasonable conceit of one's own superiority, whether as to talent, wealth, beauty, accomplishments, rank, office, or other distinction, with correspondingly contemptu- ous feeling towards others; a proper sense of dignity, character, and worth; aversion to that which is or is to be unworthy of one's character, station, or name; self- respect. Capitals too high for body of writing; .small letter d with high stem, either looped or sharply made. Procrastination Putting off; dilatoriness; delay, especially culpable delay. Uneven writing; /-cross at left of stem ; i-dot to left and high. Prodigality Extravagance in the expenditure of money or things; vicious or unnecessary expenditure. Letters widely spaced; lower loop letters extend to line below. Progressiveness Advancement; making or tending to progress. Words well spaced; heavy uncon- scious shading; t heavily crossed. GRAPHOLOGY 177 Protectiveness The desire to shield from harm or Finals curling over to left intrusion. Prudence Carefulness to avoid practical mis- takes; caution; good judgment and foresight in practical affairs; economy; discretion. Style of writing fixed; punctuation carefully placed; /-bar never at right of stem. Psychic Qualities Of or pertaining to unusual opera- tions of the mind or to occult phenomena. Pugnacious Disposed or inclined to fight; quar- relsome; contentious. Punctuality Being punctual in any sense; promptness in doing, or exactness in occurring; faithfulness to a time promised. Disconnected letters — the more the letters are separated the gre a ter the significance; fine writing; well- spaced writing; lines widely spaced Heavy, coarse writing; letter with a straight inflexible stroke; let- ters never compressed; /-bar a1 right of and above stem; /> made with lower point sharp and upstroke at right of stem. /-bar never at left of -tern: punctua- tion carefully placed. Purity Character or state of being pure in any sense; cence. moral cleanness; inno- Down strokes light. Quarrelsomeness Given to quarreling; apt or dis- posed to quarrel; irascibleness; a contentious disposition. Disconnected letters; /-bar higher than top of -teni and to the ri^lit ; p made With lower point sharp and up- stroke at riy;ht of stem; initial Bl absent; /-dots much elongated ;capi tals never low; letter- I ■ \ ■ : pressed. 1 7 8 GRAPHOLOGY Quickness State or quality of being quick; liveliness; activity; readiness; a- cuteness of perception or sensi- bility; alertness. Angular writing; hasty and indis- tinct writing; i-dot at right and high; /-bar at right of stem. Quietness The state or quality of being quiet in any sense. Vertical hand; round writing; fine writing; tops of small letters never pointed. Rapacity The quality <>r character of being rapacious; the practice or act of obtaining profit by oppression; a\ arice. betters crowded together; final Utters hardly finished; hooks at end of strokes; uneven writing; ten- dency to the angular, vertical hand; punctuation carefully placed. Rashness The quality or state of being rash recklessness. Finals ascending to right; punctua- tion carelessly done. Reasoning Powers (Deductive) The mental act, process, or faculty of deriving conclusions from facts or propositions admitted or as- sumed for the sake of argument. Letters connected. Recklessness Rashness; destitude of heed or concern for consequences; heed- less of danger; desperate; not caring or noting; neglect. Finals ascending to right; punctua- tion carelessly done. Refinement Fineness or chasteness of thought, taste, manner, or language; free- dom from coarseness or vulgarity. Style graceful and cultivated. GRAPHOLOGY Reflectiveness Given to reflection or thought; Small writing; t and d without 1 meditative; turning the attention upon the processes of the mind itself. Reliability The quality of being reliable; that which may be relied upon; worthy of confidence; to be depended upon; trustworthiness; honesty. Lines Btraight; Bmall letters equal Reserve To keep back; to keep one's own thoughts; reserve of manner; to be distant, undemonstrative. Letters compress ed; a and o • Resistence The means or power of resisting; Cross strokes strong, to make opposition; antagonize. Resolution The state or character of being resolute; steadfastness of purpose and firmness in adhering to it; active fortitude; determination. Strokes becoming heavier toward end. Responsiveness Inclined or ready to respond; be- ing in accord, sympathy, or har- mony; susceptibility. Forward hand, very sloping. Restless Always active or moving; never quiet; unable or disinclined to rest; given to incessant activity; uneasy; constantly seeking change. Style of writing constantly < hinging; letters hurriedly w ritte n , half formed. Restrained Buoyancy [See Buoy- ancy Restrained) l8o GRAPHOLOGY Reticence The quality of being reticent; re- Letters compressed; a and o closed, serve in speech. Revengeful Cherishing the disposition and pur- Heavy writing, pose of revenge ; vindictive. Reverence Veneration; regarding with pro- Right slope; capitals low; down found respect and affection; treat- strokes light, ing with deference. RHYTHM (Sense of) Harmonious movement or sound; Letters extended; even swing of accent, tunc; characterized by pen. regular recurrence of impulse. Righteous Characterized by the endeavor to Straight lines. conform to the right; upright. ROMANTICNESS State of being romantic; extrava- Exclamation, interrogation, quota- gantly ideal; sentimental rather tion marks, and underscore much than rational; fandfulness; vis- used; long loops. ionary; dreamy. Sadness The state or condition of being sad ; Lines descending, depression of spirits; a feeling of grief or gloom. Sagacity The quality of being sagacious; Small letters pointed at top; some shrewdness; ready and accurate letters in words disconnected; strokes discernment and judgment. and loops of one line clearly separated from lines above and below; style fixed. GRAPHOLOGY [8] Sarcasm A keenly ironical, scornful, or Small letters d and i with sharply taunting expression; cutting and pointed Btems. reproachful language. Scientific Mind A mind capable of understanding Letters square shaped. scientific subjects; having exact knowledge or perception; well- versed in science or a science. Secretiveness Inclination or tendency to secrete Crowded writing; letters a and o or conceal, the faculty and dis- tightly closed; final of small 1« • position that induces concealment tied to the up-stroke in a link- "twi-i." or deception. Self-Appreciation Appreciation of one's self; undue consciousness; self-respect. Capitals high. Self-Assertion The characteristic of asserting one's self or one's rights or claims in an assuming manner. Capitals too high; stroke! letters never compn Self-Assurance The mental state of feeling confi- dent of one's own abilities. Finals ascending to right; /> made with lower point sharp and u| on right of Btem; lift tale never low; letters never com- pressed; strokes firm; style i Self-Consciousness The act, condition, or quality of being or becoming immediately aware of the activities or states of self; reflexively conscious. Capitals high; finals desc en di right; usually in backhand writing. 1 82 G R A rilOLOGY Self-Control The act, power, or habit of having one's faculties or energies, espe- cially the inclinations and emo- tions, under control; sell -com- mand. Strokes firm; /-bar not at left of stem; /-dots round. Self-Esteem Self-respect; a good opinion of one's self or of one's character, attainments, or powers; the fac- ulty that gives dignity and self reliance. Capitals high. Self-Intbrest One's own interest or advantage, especially without regard to what is right or due to others, Backhand writing. Selfishness Indue regard for one's own inter- est, gratification, advantage, <>r Un- like, regardless of others. Finals absent; large writing. heavy, diffuse Self-Reliant Relying on one's own abilities, re- sources, or judgment; indepen- dence of character. Tops of small letters pointed; generally in the angular hand. more Self-Respect Respect or proper regard for one's Capitals high own person and character. open. d-stem high; a and o Self-Restraint The act or process of restraining; holding one's self back, as of the passions, or by the force of one's own will; mental, moral, or physi- cal hindrance; repression. Round, forward hand; words close together; strokes and loops of one line clearly separated from lines above and below. (. R A i» ii OLOG 1 Self-Satisfaction Satisfaction with one's own actions Lasl Btroke of capital M higher and characteristics; self-compla- the Brat or second Btroke. cency. Self-Sufficiency Overweening confidence in one's Lasl I capital if higher than own endowments, knowledge, or the first or second Btroki worth; self-satisfied; haughty; overbearing; self-conceited. Sense of Form (See Form) Sense of Justice (See Justice) Capitals simple, graceful, and print- like. Lines exactly equidistant Sensibility State or quality of being sensible; Right slope — very doping. the power or capacity of feeling, including both sensation and aes- thetic and rational emotion; sus- ceptibility to outside influences. Sensitiveness The state or quality of being sensi- Letters incurve; d looped; vari tive; impressionable. size of letters, Sensuality Sensual; free indulgence in carnal Coarse heavy hand; usually in 1 or sensual pleasure, or in any mode hand; down Btrokes muddy. of it; the spirit that cherishes the animal appetites and seeks their gratification. Sensuousness The state of being keenly suscep- Cross strokes -haded, tible to influences through the senses and sensuous Imagination, whether of the physical or aesthe- tic order; Opposed to spiritual. 1 84 GRAPHOLOGY Sensuousness (Absence of) Not sensuous. Sensuousness of Color Keenly fond of, or moved to, ecstacy by color. Sensuousness of Form Sense of configuration; apprecia- tion and recognition of shapes, outlines, and contours. Sensuousness (Musical) Love of melody; musical ability; sense of tone; the ability to ap- preciate concord, modulation, and harmony. Sentimentality State of being sentimental; over indulgence in sentimental feeling. Sequence of Thought Deduction. Seriousness ( .rave and earnest in quality, man- ner, feeling, or disposition; not inclined to joke or trifle; thought- ful, sober, earnest. Servility Abject or cringing submission or deference; slavishness; to be servile. Severity Sternness; the quality of being severe; harshness or cruelty of disposition or treatment; want of kindness or gentleness in dealing with others. Cross strokes light ; fine writing. Cross strokes shaded; capitals are simple, graceful, and curved. Cross strokes shaded; capitals are simple, graceful, and print like. Cross strokes shaded; small letters curved at bottom of their last down Strokes; lower loops long; even swing of pen. Round, forward slope; exclamation, interrogation, quotation marks, and underscore much used. Letters connected. Cross strokes straight. Capitals excessively low; signature smaller than body of text. Vertical, tending to the backhand; angularity of the writing; strokes firm; style fixed; m and n unlike the w and u; letters not extended; punctuation not carelessly done. G R A P II O LOG Y i»S Shallowness Narrow mindedness; lacking intel- lectual depth; not wise or pro- found; superficial. Words weak. Shrewd Having keen insight, especially in small or worldly matters; display- ing keen discernment; sharp; sagacious. Shyness Keeping away through sensitive- ness; inclined to shrink back from bashfulness; reserve; coyness. Small letters pointed at Letters disconm loops of one line dearrj from lines above and below; fixed. Letters compressed; do Sou capitals low; cross strokes straight Simplicity of Taste Tastes that are simple; absence of ostentation; free from affectation or pretension. Sincerity State or quality of being sincere; honesty of purpose or character; freedom from hypocrisy, deceit or simulation; truthfulness; honesty. Capitals made by enla:. letters; vertical hand; fine writing; inartistic formation and varial of letters. Lines straight; small letters equal size; inartistic, schoolboy hand, or the tendency to ungraceful writing; letters increase in size in t Ik- Skepticism A doubting or incredulous state of mind; requiring more proof; dis- trustful. Capitals narrow at base; co; i letters. Sleepiness Inclination to sleep; drowsiness. Slovenliness The state or quality of being slovenly; carelessness in one's dress, or neglecl of cleanliness; negligent of neatness and order. Words running into i General hand; left m n; punctuation ssly done. 186 (. R A I" II O L O G Y Slowness Quality of being slow in any sense. Slyness Quality of being sly; craftiness; cunning. Sociability The quality or character of being sociable; amiability. Social Ambition Disposition; to hold friendly inter- c( turse with others ; companionable ; sociable. In cultured hand — the vertical; in illiterate hand — the forward slope; /-bars to left of stem; j-dot to left. a and o tightly closed, lines irregu- lar, small letters constantly varying in size; small tetters pointed at top; finals never ascending to right. Diffused writing; m and n like w and u; letters extended; capitals not too high; style not ('(-centric; down stroke of p rounding up to left rather than pointed to right. First strokes of capital A' or M much higher than second or third. Speculative Given to speculation; using the discursive method of intellect, resulting from inference, as op- posed to intuition and experience; the analytical and inferential intel- lect. Writing that is not well spaced; lower loop letters extend into line below. Speech (Fluency of) Command of language ; the facu 1 1 y of expressing thought fluently and readily. Easy running hand; d and / looped. Spirituality The character of being spiritual or free from worldliness; the faculty that gives a feeling of confidence; sense of the spiritual; opposed to materiality. All down strokes light — no shade; disconnected letters very marked; plain capitals. (. R A P H o L o G V Stability The quality or character of being steady or constant; steadfastness of resolution or purpose; con- stancy. Style of writinf all down strokes are of i: ant. Steadiness The quality of being steady; free from intemperance and dissipa- tion; industrious, sober, reliable; constant in mind or conduct. Style of writing fixed; all down strokes lightly made and of tl.< slant. Sternness The quality of being stern ; having an austere disposition; unyielding in character; rigidly steadfast; unmoved by sympathy or emo- tions; resolute. Vertical writing, with tender the backhand; strokes firm; fixed; letters not extended; punctu- ation not carelessly placed. Stinginess * The quality of being stingy; close and penurious; avarice. Letters crowded together; final let- ters hardly finished; hooks at end of strokes; if in cultured hand the punctuation is carefully i large hand stroke- .ire Coarse; it in small hand the strok< - are fine. Straightforwardness Frank, honest, open ; proceeding in a direct manner; undeviating; free from prevarication or conceal- ment. Straight lines— the lines should be straight across the nd the words also straight on the lift o open. Strength Muscularity; the quality or condi- tion of being physically strong; mental or moral force; effective- ness, or power of endurance: bind- ing or conclusive force, as strength of will. Small letter /> made with tl short above and long below, in either loop <>r stroke, the longer the V Btroke tl i the stgnificati l88 G K A P ii o LOG v Struggle Against Depression To put forth great effort to over- Words that cant downward on the come or resist oppression or morbid descending lines more than the lines feelings; a succession of efforts to themselves, overcome the lowering of the vital powers. Struggle Between Heart and Head An effort to decide between the Loop letters at different angles. dictates of the mental forces and the -> mpathies. Stubbornness Inflexible in opinion or intention; Main successive words connected. not to be moved or persuaded by reason; unyielding in character, Suavity The state or quality of being suave; lirst letter of a word larger than the eable smoothness of manner; rot. blandness; urbanity; the faculty that gives urbanity and a smooth easiness in speech and conduct; tact. SuBiassrvENBSs The quality of being submissive; Capitals low; /-bar close down on the yielding; obedient; docile; will- stem; strokes not very firm, ing or inclined to submit ; humble- ness. Susceptibility The state or quality of being sus- Writing that is very sloping to the ceptible to influences or of easily right, receiving impressions; the ability to receive or be impressed by deep emotions or strong feelings. GRAPHOLOGY Suspicion The act of suspecting; conjecture, with little or no evidence to sup- port it, that something wrong ex- ists or is going to happen; unrea- sonable imagination or apprehen- sion; mistrust; doubt. Finals lung only to fill otherwise blank spa writing; crowded wri b - ing lines. Sympathy A feeling of compassion for an- other's sufferings or evils; pity; an agreement of affections or inclinations or natural tempera- ment, which makes persons agree- able to one another. Right slope; the incur, extended; finals never cut si System Orderly combination or arrange- ment ; the state or quality of being orderly. Every letter legible: neat uniform writing; well Bpaced writing; left margins even down the page. Taciturnity Disinclination to silence or reserve. talk; habitual Letters d and /-with pointed upstrokes of these letters at Id stem; a and dost Tact A quick or intuitive appreciation of what is fit, proper, or right; fine or ready mental discernment shown in saying or doing the pro- per thing, especially in avoiding what would offend or disturb. First letter of word larger than real of word; small writing I -miller than medium: form writing; a and Talkativeness Given to much talking, especially idle talk; loquaciousness; com- municativeness. Small small letters ; and / with bi I :90 (. R a p 11 o i o (. v Tardiness Slow movement, gait, or pace; not /-bur at left of stem. I and j frequent coming at the appointed or expect- ly undotted. ed time; dilatorincss; procrastina- tion. Taste (Architectural) Liking for constructive or archi- Simple, graceful, and print-like capi- tectural pursuits. tab. Taste (Artistic) Liking tor the arts — music, poetry; Long loops to lower loop letters; dis- aesthetic. connected letters; simple and grace- ful capitals. Taste (for Color) Love for and perception of, color; Simple, graceful, and curved capitals. Sense Of shades, tints, hues, and blending colors with taste and dis- crimination. Taste (for Designing) Sense of configuration; apprecia- Simple, graceful and print-like tion for, and recognition of, shape, tab. outlines and contours. capi- Taste (for Mathematics) Mental arithmetic; faculty for Figures well and easily formed, all computing numerically; mathe- attempt at ornamentation of figures matical talent. absent; careful and precise style of writing. Taste for Music (Deficient) Lack of melody; no musical Small letters angular at bottom of ability; no sense of tune; ina- their last down strokes, bility to appreciate concord, modu- lation, and harmony. GRAPHOLOGY 191 Taste (Literary) Literary discrimination; the abil- ity to write; literary accomplish- ment; cultured; fondness or lik- ing for literary pursuits. Taste (Mechanical) Constructive talents. Taste (Poetic) A liking for poetry and aesthetics. Taste (Simplicity of) Simple tastes. Teachableness Capable of being, and willing to be, taught; an aptness for learning; docility. writing; Bmalkr urn; variable >ize of let© d; Gn punctuati larger hand than medium, tht are variable In use, hastil) written, diffused and unevenh on the page; very plain capil cultured hand only. Original methods of making connec- tions. Small letter w round' d by the "lasso" stroke; loop letters. empha Capitals made by enlarging letters. Words not connected; cross strokes never pointing downward; capitals never too high; words well s\ Telegrapher's Hand Style of writing acquired by tele- graph operators after long practice at "receiving." Words connected b> like Temper Heat of mind or passion; angry excitement; disposition to become angry. Usually in the angular hand, /-bar above stem, flying off Btem to the rqtfit Tenacity Tenaciousness; firmness or per- Angular writing; hooks at a sistency, as of purpose; retentive- final strol ness of memory. 19: GRAPHOLOGY Tenderness The quality of being tender or merciful in any slum-. The right slope. TllIKYIslINESS Addicted to the practice of theft; given to stealing; partaking of the nature of theft, as a thievish ad- vantage. Small letters constantly varying in si/c; letters close together; writing never extended; lines irregular; lines irregularly spaced; hooks at end of tinal Btrokes; base line wavy; small letters a and o tightly closed. Thoroughness Completeness; the quality of being thorough, marked by careful at- tention throughout; leaving noth- ing undone. Tendency to small writing; small letters low; punctuation carefully placed. Thoughtfulnbss State of being thoughtful; mind- ful; attentive; careful; full of, busied with, or given to, thought; meditation; contemplative. Punctuation carefully placed. Thoughtlessness Manifesting lack of thought or care; lacking ability to think; dullness. Diffused writing; punctuation care- lessly placed; small letters a and o open. Thrift Care and prudence in the manage- ment of one's resources; economy; frugality. Letters close together; no margins; punctuation carefully placed; neat, uniform writing. Tidiness Neatness and order; cleanliness; proper arrangement; free from any sign of neglect ; orderly dispo- sition or habit. Neat writing; lines well spaced bar carefully placed across stem. G R A P II o L (i V Time To adapt to the time or the occa- i gof pen; letter sion. The ability to comprehend the laws of time; to understand metre and rhythm, as in music and harmony. Timidity Want of courage or boldness to Finals descending face danger or publicity; timor- ousness; fearfulness. Tranquillity The quality of being tranquil; j-dots and periods round, freedom from, or superior to, all disturbing influences; calmness. Trickery Artifice; stratagem; deception; Lines irregular; small k ■•• cheating; cunning. stantly varying in size and poii at top; finals never ascending; a and o closed. Triviality The state or quality of being tri- Words close together; small 1« vial; interested in trifles; low, very low (not meaning small writi petty ability or wit; pettiness; un- scholarly. Trust A confident reliance of the mind Finals not used to fill on the integrity, veracity, justice, blank Bpa or other sound principle of another person. Trustworthy That may be depended upon; Straighl lines; Btmpk unpr worthy of confidence; reliable. tfriti 191 G R A l» II o L O (i V Truthfulness Habitually speaking the truth; veracious; reliable; accurate; can- didness; honesty. Tune Order; right mood; to adapt to or put in accord with; in harmony with. Lines straight; small letters equal size; increasing size of letters, the last letter being larger than the first; a and o open. Small letters curved at the bottom of their last down strokes in each word; long loops. Unambitious Nature Without ambition. SSUMING Making no assumption of personal superiority or worth; making no pretentions; modest; humble. Cross strokes descending; /-crossing weakly done. Fine writing; no shading; plain, Bimple formation of letters without regard lor appearances; well-spaced lines. LANCED Not in a state of equipoise or equilibrium; lacking mental bal- ance; unsteady; unsound; erra- tic. I NIMAGINATIVE NATURE Limited in the powers of imagina- tion. Uneven writing; lines irregularly spaced; third or last stroke of capital M higher than the first stroke; dif- fused hand, words straggling or spread over the line; a and o open. Upper strokes of letters short; /-bar never above stem. Unobservant Nature The faculty of observing developed or strong. not /-bar very long. Untruthfulness The quality or character of being untruthful; want of veracity; de- ceitfulness. Lines irregular; small letters con- stantly varying in size; a and o tightly closed; small letter 5 closed or tied to upstroke. G R A P H OLOG V Uprightness The quality or state of being up- right; morally correct, just, and honest; adhering to rectitude. Urbanity Refined or elegant courtesy; suav ity; politeness; amiability. Plain, simple writing without flour- ish; a and o open; I d with high -trni. Letters extended; capitals I high; style not eccentric; rn and ;; like w and it: down Bt rounding up to left rather than pointed to right. Y AC ILLATION Fluctuation of mind ness. changeable- Style constantly changing; urn writing; straggling hand; vai size of letters. Vanity To be vain; a feeling of shallow pride, manifested in a small way and on slight grounds; inordinate self-esteem, conceit. Capitals too high; flour; close together. Veneration The feeling of one who looks upon or treats with honor the deference due to something noble, dignified, or sacred, especially age or rank. Ri-ht slope; capitals low; down - light; fine writing; n> i ing. Versatility The character or faculty of turn- ing with ease from one occupation or task to another. Finals concave; ters; horizontal lines; plain tals. Violence The quality, character, or state o\ being violent, either in a physical or moral sense. Small letters Constantly size; ungraceful -■ riting; -ruled; n capitals ungra< eful ai 196 GRAPHOLOGY Virility The state, quality, or character of being virile; manliness; quality or action. Vivacity Yivaciousness; liveliness; spright- liness of temper or behavior. Volubility Readiness or fluency in speech. Voluptuousness The state or quality of being volup- tuous; sensual gratification; in- dulgence in pleasures or luxuries — sensuous ones. Normal, steady hand; down strokes shaded and firm; lower loop letters long; p long below and short above. Letters hurriedly written, some only half formed; small letters t and d looped; letters extended; m and n like W, 11; angularity of writing. Upper loop letters long; d and t with wide loops, Writing slowly drawn out: strokes muddy. down Vulgarity Low condition in life; common- ness; lack of refinement in conduct or speech. Capitals complicated and ungrace- ful. Want OF DIGNITY Lacking in dignity. Down strokes convex. Wastefulness Expending or using lavishly or prodigally; extravagance. Letters widely spaced ; wide margins. Watchfulness Full of care or vigilance; careful to observe; cautious. Dashes in place of periods or the occasional use of dashes for periods. Weak Will Not having strong will power. Strokes weak, variable size of letters; /-bar weakly crossing the stem or to left of it. GRAPHOl <) Will Power The power of controlling one's own movements and internal states, feelings, and thoughts by con- scious, deliberate choice; the fa- culty of self-determination; direc- tive effort; strong determination; practical enthusiasm; energy of character. Willfulness A spirit of unyielding determina- tion; stubbornness; self-will; ten- dency to wildness; waywardness. Wit Humor; keen, sudden, brief per- ception of the incongruous or ludicrous. Worry State of perplexing care, anxiety, or annoyance; vexation; fretful- ness. Yielding Nature The act of one whose nature is yielding. Acquiescence or com- plaisance; surrender. Writi: ascending lines that an down strokes that are shad consciously shaded); /-bar firm and ■ in or careful] deliberatelj m, <, r pointing upward across the item, or heavily dashed to right oi erally in vertical writing. Shaded writing, usually linconc final stroke of small letter d below line; final stroke of small letter t below line. Finals turned up; Inters hui written and only half formed; ly in the diffused hand; M>a; scroll shape. Lines that descend with words mere descending than tin- tin* made of elongated dashes, short and weakly struck; punctuation fully placed. Strokes weak; no hooks at < strokes. Zeal Passionate ardor for a cause or, less often, intense eagerness; en- thusiastic devotion; fervor. I'pjH-I geti ;dashes never down stroke Deacidified using the Bookkeeper process. Neutralizing agent: Magnesium Oxide Treatment Date: Nov. 2004 PreservationTechnologies A WORLD LEADER IN PAPER PRESERVATION 1 1 1 Thomson Park Drive Cranberry Township, PA 16066 (724) 779-21 1 1 ■ ■ H m , rr*,v ■