BEAUTY NOTES.

Auckland Star, Volume LVII, Issue 78, 3 April 1926, Page 26

BEAUTY NOTES.

(BY A PARIS BEAUTY SPECIALIST.) t Each human face is a positive index to its owner's character. Every line, furrow, and hollow in the face, every tint and texture of the skin, and every active or dormant muscle belonging to the face, is a tell-tale symbol of some inherent emotion or thought. Forever and forever, facial characteristics are hieroglyphics etched by mental gods: To the casual observer, these physical attributes may pass undeciphered, but, to the trained expert in facial analysis, each minutest facial mark or muscular action, is pregnant with meaning. This because each is significant of the workings of mental gods, either of construction or of destruction. It is in > a measure possible to conceal our thoughts and feelings, but it is futile to attempt to hide their effects. Upon every face is stamped the symbol-lines of thought, which the soul has wrought in secret. A Highly Interesting Vocation. The study of the human face, and its various features and changing expressions proves a highly interesting vocation. It may even become a vocation with profit, both intellectually and financially. Discriminating business firms throughout the world are eager to secure the services of experts in facial analysis. They gladly pay salaries commensurate with the service rendered. N In Paris, there is a 6chool, where men and women are trained in the scientific analysis of the face. None, save the shrewdest, most analytical, and intuitive, is admitted for registration in this school. By means of this advanced method in facial analysis, it is impossible, once a man's features have been photographed in the mind of tho facial analysis, to make good his escape. The expert knows the type of man or woman he is trailing. He knows the texture and tone of the hunted one's skin, the shape of his face, and the

formation of its every feature. He knows the height, Width and shape of the nose, and the nostrils and their act projection, knows whether the nostrils are sensitive and quivering, or merely stolid. He knows the shape, colour and size of the eyes, and how they are set in the face—knows if they be meditative, staring or expressionless. He knows the space between the eyes, and whether or not, the brows recede or protrude— he knows if the eyes be mates or otherwise, whether the lids droop Or are elevated. He knows how the individual's ears are placed, he also knows that no two ears, even on the same person, were ever _aade alike. He knows the style of the individual's forehead, the height and depth, the build of the dome, the inclination and insertion of the hair, and how it grows about the neck and face. He knows if the temples are sunken, if they beat rapidly or slowly. Especially does he Study the action of the temples, the eyelids, and the marking between the eyes, whefe the'nose joins the forehead, for upon these points, his judgment hinges very largely. ' ° Some writer has wisely said that the mouth is the battleground of the face this, because it is the place where the mental and physical qualities focus, and one or the other is always paramount. We may train every other feature of the face to conceal, in a measure, the working of the mind, but the mouth refuses to wear a mask. The mouth is a definite expression of inner states of being. Another feature that tells its own graphic story of character, is the chin. The expert in facial analysis knows the type of chin he is looking for. It may be projecting, receding, round, square, vertical or pointed—he may see- thousands of chins, almost identical with the chin his man owns —almost, but not quite, each is lacking in some minor detail, some indenture, some cleft or non-cleft. Sooner or later, however, he almost invariably discovers the particular chin, which in many instances, he has covered thousand* pi mile* U> apprehend. , *-> '~-*-^<^_