YALE UNIVERSITY LIBRARY From the estate of Mrs. Carrie A. Middleton In Memory of JAMES MIDDLETON Class of '79 Twentieth Century Guide to Palmistry By The Zancigs Professional Palmists and Demonstrators of Telepathy or Thought Transmission ; Chicago <£r New York The -Henneberry Co. Publishers Copyright, i9oi By The Henneberry Company Kr PREFACE l The theory on which Palmistry rests is simpler and more scientific than is popularly supposed. Modern science teaches that physical man and nature are one in substance; the solid, liquid, and gaseous elements in both are identical. Eastern science—that of the Oriental—agrees in this, but goes deeper; it says that besides the physical part of man there is an astral part. This is composed of a finer kind of matter, and is directly related to the souls of the Stars and the souls of our earth. Their changes affect its growth and development, and these changes react upon the human body, altering its proportions, conditions and appearance. Palmistry is without doubt the oldest of all sciences, for it dates its origin from the creation of man. It was practiced by the Hindoos centuries .before the Christian era. The famous Greek philosopher, Anax- igoras, taught it long before the birth of Christ. Those ancient people were equally as enlightened as we, and their wisdom was not frowned upon as the science of Palmistry is to-day. 5 6 PREFACE It is only the ignorant and the skeptical, who are deficient in intellect, that regard Palmistry in any! other light than scientific. The Church, the laity,! medical men as a body, and even the legal profession, now espouse the cause of Palmistry, and go so far as to use it in their practice. The physician finds it of the utmost importance in diagnosing diseases, and the lawyer has found it an infallible test in detecting crim¬ inals. "As it is written in the hand, so shall it be," is Scripture. There is no trait, no characteristic, no inherited tendency, that is not marked on the palm of the hand, and can be traced with unerring and infal¬ lible accuracy. Every thought and vibration expressed by the mind I is emphasized by a motion of the hand—the hand, unconsciously, executes every emotion of the brain. In Phrenology and Physiognomy, accuracy in delineat¬ ing character cannot be obtained, as the features change according to the emotions expressed; even the shape of the head can be changed by an abnormal growth of the hair,—but the hand cannot dissemble. The reason why Palmistry is a success is because the hand is more intimately connected with the brain than any other portion of the entire system. There are thirty-four nerves connecting the brain with the Great Palmar Plexis, or center of the palm. There is no idea or emotion conceived in the brain that is not carried out by the hand. Of all the studies of human j PREFACE 7 .nature, the hand has the most powerful claim upon our attentions. By a study of the hand, one can detect their shortcomings and learn to judge our fellow men and study human nature as well. By knowing our¬ selves, we can master ourselves and our destiny, and by knowing others we are saved many serious business mistakes and misunderstandings. To prove that Palmistry is an exact science, if we take an impression of our hand to-day, and another impression six months later, it will be found that the lines have changed considerably, showing that as our ideas change, so will the lines on the hand. A firm handshake expresses sincerity and honesty—another : test of character as expressed by the hand. When the hand is kept closed it is a sure sign of secrecy. If you think a man is speaking falsely, watch his hands. No man can tell a lie and keep his hands open. "The superiority of a man is known by his hands," is the saying of an eminent Brahmin philosopher, which will bear out any statement for or against Palmistry. A beginning has been made however, to give it a place among our exact sciences, and with the dawn of the Twentieth Century we may earnestly look forward to wonderful developments in this interesting science. THE ZANCIGS. Chicago, 1900. 1 Tax 2 The 3 The 21 The h The © The § The S The First Phalanges'. Second Phalangks. Third Phalanges. Mount of Jupiter. Mount of Saturn. Mount of Apollo. Mount of Mercury. Mouki of Mars. ( Thk Mount of Luna (the Moon). ? '1'ne Upper and Lower Mounts o Venus. | Thk Plain of Mars is within dotte. Links. The Quadkaitglb is t°e space bktwe; the Head and Heart Links. ' I —Frontispiece. CONTENTS I. Classes of Hands 13 II. The Fingers Generally 15 III. The Finger-Nails and Knots .... 18 IV. The Palm 24 V. The Mounts 27 VI. The Thumb 34 VII. The Individual Fingers 39 VIII. The Phalanges 48 IX. The Heart-line 54 X. The Head-line 63 XI. The Life-line 70 XII. The Fate-line 75 XIII. The Apollo-line . . 81 XIV. The Hepatica 85 XV. Influence and Marriage Lines .... 89 XVI. Lines on the Mounts, etc.. 95 XVII. The Rascettes 101 XVIII. Variation in Hands and Lines .... 104 XIX. Curious Markings 107 XX. The Professions, etc 118 XXI. Health 125 XXII. Time and Memory 128 XXIII. Rules for Reading the Hands .... 134 XXIV. A Table of Qualities 136 XXV, Definitions 142 XXVI. Gastronomies ......... 148 Index 171 9 THE ILLUSTRATIONS In order to render the illustrations of the lines, etc., as clear as possible, we have not endeavored to show the outlines of the mounts themselves, but have merely indicated by the symbols (1! b 0 ? J C 9) their exact positions. General Diagram of the Hand ....... 8 Curious Markings 108 Time Measurement 129 Illustrated Markings (Eight Subjects) .... 152 Seventy-five Smaller Drawings Illustrating Text ii Fie* 4.—Exaggerated Conic. Fig. 5.—Mixed. CLASSES OF HANDS, IS PALMISTRY CHAPTER I CLASSES OF HANDS There are three types or classes of hands, distin¬ guished by the shape of the finger tips as seen from the back of the hand. These are called respectively, from their shape: (i) the "square" (Fig. i); (2) the "spatulate" (Fig. 2); and (3) the "conic" (Fig. 3). In the square type the tip of the finger is flat, and the corners appear angular. In the spatulate type the tips are rounded but wide, and the corners appear broad. As the name implies, such fingers resemble the spatula with which the chemist mixes his drugs. In the conic type the tips are rounded like the top of a thimble, and the corners are not noticeable. In the extreme development of the conic type (Fig. 4), when the finger tips appear long and pointed, some palmists see a fourth class, and name it "pointed" or "psychic. " It appears, however, to be rather an exaggeration of the third class than a separate division. 13 14 PALMISTRY In countries like the United States, where there is much admixture of races, it is rare to find a hand of which each finger is of the same type. In most hands there are examples of all three (as in Fig. 5), and in many instances it is difficult to exactly say to which class a finger belongs, the spatulate seeming to mingle with the conic and the square. When this is the case, the qualities of both classes are united, and tend to modify each other. We make the spatulate the sign of action, the square the sign of materialism, and the conic the sign of ideality. Where, therefore, the spatulate seems to merge into the conic, the subject will partake of both characteristics, but will neither be so active nor so prone to ideality as if the type were more marked. And where the spatulate seems to mingle with the square, the mental activity will be greater than the bodily. The strength of will power, as shown in the thumb, the concentration of intellect marked in the depth and length of the Head-line, and the energy betrayed in the hardness of the hand, all modify, but do not alter, these various characteristics. CHAPTER II THE FINGERS GENERALLY Briefly, the fingers may be divided into long, medium, and short. They are measured by the length from the tip of the second finger to the center of the knuckle at the back of the hand. The palm is meas¬ ured from the base of the second finger to the first png of the "rascette." When both palm and fingers are of equal length, the subject will consider the whole of a question first, and then take each detail. When the palm is longer than the fingers, the subject dislikes detailp"preferring a general idea to minute particulars. With a good Head-line and thumb ^his may be greatly modified, but it will be found jo be the natural temperament nevertheless. When the fingers are longer than the palm, the subject will make detail first consideration, and will be inclined to iose a sense of proportion in the consideration of minutiae. As each finger will be treated separately, our readers may refer to the special chapter (VII). Long fingers, with spatulate tips and smooth joints. show a love of detail centering in human interest, such as knitting socks for soldiers on foreign service, and 15 i6 PALMISTRY teaching in a night-school if the Mercury finger is long as well. Such subjects give great attention to the smallest points of any work taken up. Persons with similar fingers, if the tips are conic, like everything connected with art and literature, but dislike anything that soils the hands. With squared tips they are domestic and practical in all the details of everyday life. People having short fingers, with spatulated tips, will only take interest in masses; they will organize clubs and neglect the individuals. When the same short fingers have squared tips, they show great com- imonsense applied to all big things, and are admirable where clear-sightedness and a power of managing en grand is required. Long fingers also betray sensitiveness, and where they are much longer than the palm there is much criticism and contradiction. With a good Head-line the memory will be good, especially for words, and learning by heart should be easy. Thick fingers always denote a love of ease and luxury, especially when the phalanx nearest the palm is cushioned and soft. If the hand is hard, however, the subject will not require luxury; but he will thor¬ oughly enjoy it when it comes in his way. Twisted or malformed fingers are often a sign of nervous illness and hysteria. Fingers that are inclined to turn back, and are sup- THE FINGERS GENERALLY pie and elastic, show a subject inclined to let oppor¬ tunities slip, although there is often great charm of manner' and adaptability. There is often a tendency to extravagance, letting money slip through the fin¬ gers ; and such people are very frequently inquisitive, .particularly when the mount under the first finger is high. If the fingers are very stiff, and fall apart with diffi¬ culty, it betrays conventionality; and, with a straight , thumb and short Head-line, meanness and lack of adaptability. When the fingers all fall easily apart, it shows inde¬ pendence, impatience of control, and, with a turned- out thumb, versatility. '' Cushioned tips'' to the fingers are by some consid¬ ered desirable; adding sensitiveness to the touch; but should they be formed near the top of the phalanx, and riot towards the center, they seem to blunt the perceptions and modify the tact. CHAPTER III THE FINGER-NAILS AND KNOTS Nails have an individuality of their own, aisd, although treatment may change their shape at the crown, the bases are practically unalterable. They do not invariably take the form of the finger tips, but are a distinct feature, and should be treated separately. A normal nail occupies half of the first phalanx of the finger; one that is larger or smaller would be so described respectively. The half-moons (the whiter portion) are, by some Indian palmists, said to indicate the quarter of the moon under which the individual was born; but. it is a curious fact that the size of these "half-circles" varies on the different fingers, and they are often more strongly marked on the "dominant" finger than on the others. The proper proportion of the half-moons is one-fifth of the whole nail. Should they be larger or smaller, some defect in the circulation will usually be found, and generally a feebleness in the action of the heart as a cause. On some hands each nail is different; but, as Mr. Frith has pointed out, the corresponding fingers are 18 THE FINGER-NAILS AND KNOTS 19 generally alike, and nearly all thumbs have squared bases. Fig. 6 shows a healthy, medium-shaped nail. The base is softly rounded, and the nail itself is rounded atid smooth, not ridged or fluted. The color is a soft pink. In size it occupies about half the first phalanx, and one-fifth of the whole finger. Short nails (Fig. 7) are a sign of a critical, mocking temperament, which, with long fingers (especially that of Mercury) would be very sarcastic. Pig. 6.—Medium NAJL. Fig. 7.—Short Nail. /f^ Fig. 8.—Wedge- shaped Nail. A "V," or wedge-shaped, base (Fig. 8) is a sign of sensitiveness, and, if especially noticeable on the first fingers, indicates great "touchiness" with regard to personal feelings. Short nails with rounded bases imply good-natured criticism; but should the bases be squared, and the color be red, a warm, revengeful disposition will be indicated. The "filbert" nail, when not exaggerated (Fig. 9), lows, when pink and smooth, a gentle disposition 20 PALMISTRY without much force, and with some tendency to chest and lung delicacy. When, in addition, these nails are "fluted" from crown to base (Fig. 10), spinal weak¬ ness is said to be shown. When the health improves, the "fluting" disappears. The large, white nail (Fig. n) is indicative of a somewhat cold, selfish disposition, implacable when the thumb is large and the nail bases are square, and at all times implies a carefulness in detail and appear¬ ance, and a self-esteem which measures all things by a personal standard. The quality of the temper is shown by the color: pink, a warm temper; red, a hot temper; white, sel¬ fishness; and, with an absence of the Mount of Mer¬ cury, sullenness. A bluish shade is said to indicate heart delicacy; and a yellow tinge, jaundice. As the color very often varies on each finger, the whole gamut of temperament may be experienced by the same indi- vidual; but the general trend of the temper may be gauged by the shade that predominates. Fig. 9.—Filbert- shaped Nail. Fig. 10.—Fluted Nail. Fig. 11.—Lakgi Nail. THE FINGER-NAILS AND KNOTS 21 Nails hang out "danger signals," as it were, to the palmist long before the disease is really developed. The white spots, which come and go at their own sweet will, show nervous conditions, and warn the subject tiat rest should be taken. Flat nails also indicate i:tifable nerves, and, in cases of paralysis, have an appearance almost as if they were "ironed," so flat alnd sunken do they appear (Fig. 12). j The high, rounded nail is one sign of chest or lung aelicacy (Fig. 13). 1 Brittle nails are indicative of gout or rheumatism, and the curious transverse ridges (Fig. 14), so often S3en after fever, are symptoms of arrested develop- 1 lent. i 'ig. 12.—Flat Fig. 13.—High and Fig. 14.—Ridged Nail. Rounded Nail. Nail. "Cheiro" points out that short, small nails run in families where there is a tendency to heart disease, but :j,e have more frequently found that there is less $ tality altogether in people with insignificant nails. | .ace has much to do with development. ^ Banded nails—i. e., those in which the color appears j | lines more or less broad—show ii ritability depend- 22 PALMISTRY ent on health, and it may generally be accepted thai in the case of people with small nails, temper is quickly roused and soon over; while in larger-nailec individuals it is less easily excited, but more enduring, If the finger tip seems to grow over the nail, whicl then does not reach to the extreme tip of the finger there is frequently a bluntness of sensibility as well ai a lack of perception. Bitten nails are a mark of a nervous, irritable dispo sition, and a very long expanse of white above thf pink shows effeminacy. The Knots The knots are the development of the joints, and chirologists place order on them. The first knot, i. e., that between the nail and thf second phalanx, gives philosophic order, or order ii ideas; the second knot, between the second and thir< phalanges, order in material things; and the thirt knot, or development of the knuckles at the back o! the hand, domestic order. Exaggeration of any o! these shows an extreme of these qualities, producing meddlesomeness and fussiness. The knots are furthei treated in the chapter (VII) on Individual Fingers but we may say that knots much developed at th< sides of the joints betray more exaggeration thai those more noticeable on the back or front. 4 Absence of the knots shows impulse and disorder THE FINGER-NAILS AND KNOTS 23 Such people are often intuitive, but the results of their own prescience are often ill-regulated and disastrous; they mistake their own desires for inspiration, and act regardless of the claims of others. The first knot developed on Jupiter principally will be found to denote criticism, especially with regard to authority in religion; the first and the second devel¬ oped give a love of investigation and a painstaking search after the minutiae of truth; while the third, abnormally developed, shows a domestic tyrant, fussy and meddlesome. The upper knot on the thumb shows tenacity in principle, and the second, forming the angle of time, may, in a non-musical hand, be read as punctuality. The Natural Position of the Hands Tightly closed hands show acquisitiveness to the extent of avarice, especially with a long thumb; hands habitually closed are said to show secretiveness; while those that are always open show a want of reserve and little pride. If the hands hang loosely at the sides, the owner is lazy and careless; but when they swing to and fro while the owner is walking, impetuousity may be read. The hands kept passive are said by Heron-Allen to show vanity, while much movement indicates loquac¬ ity, and trembling hands are characteristic of nervous and highly-strung subjects. CHAPTER IV THE PALM Whatever may be the shape and variety of the finger tips, the palm of the hand must be carefully consid¬ ered before coming to a definite estimate of the char¬ acter. A well-balanced hand has the palm and fingers of equal length, taking the second finger as the standard, and measuring from the base of this second finger to the first ring of the rascette, for the palm measure¬ ment; and from the tip of the same finger to the cen¬ ter of the knuckle at the back of the hand, for the finger measurement. If both the measurements are equal, the whole of any subject can be grasped, and its details considered. A "square" palm is, as its name implies, squared at the wrist and at the bases of the fingers. Where the finger tips are also squared, the type is sometimes called the "Useful," but the palm should be firm and the thumb good, or plans will not be carried out. When this square palm is thick, and united with thick, short, bluntly conic fingers, it shows an egotis¬ tical, materialistic person, who can only think and act 24 THE PALM 25 in a narrow groove. Such people dislike detail, and are generally impatient, but are business-like and practical. When a square palm is united to very long- fingers, there will be more care for detail, a love of investigation, and some tendency to "worry." When the palm is much longer than the fingers, material instinct will always encroach upon the intel¬ lectual; there will be no capacity for very fine or deli¬ cate work, either mental or manual, and the subject will be easily satisfied and rather destitute of fine instincts. When the palm is narrow and stiff, it shows timidity, limited views, and often delicacy of constitution. Such folk lack enterprise and are not adaptable. But when long fingers are united to a hard, narrow palm, tyranny may be read, and the judgment of the subject will never err on the side of leniency. When the palm is very soft and the skin much lined, the subject will be impressionable, and, with a weak thumb and low Mount of Mars, hysterical. A "flabby" palm indicates indolence, mental or physical, and a love of ease and luxury. Opportunities will be missed through sheer laziness, and personal desires gratified at the expense of others. A thick, firm palm, when the skin is white, indicates selfishness and coldness of disposition. A high, hard palm is an exaggeration of the Plain of Mars, and shows aggressiveness and a quarrelsome tendency, just as a 26 PALMISTRY hollow palm indicates a lack of the fighting quality and submission to the force of circumstances. "Clieiro" points out that the "hollow" inclines to one line or portion of the hand more than another. If it falls under the Line of Life, it shows domestic trouble; under the Fate-line, disappointment in the career or in business; and under the Heart-line, sad¬ ness through the affections. The ideal palm should be firm without being too hard, delicately squared, of a pale color, and with the lines well and clearly marked, but not red; and the whole hand should be elastic and cool to the touch, showing good health, energy and vitality. ' If the center of the palm is white and the surround¬ ing mounts are red, over-strain is shown. Large and Small Hands Subjects with large hands and long fingers will like small things, and under ordinary circumstances will revel in details exquisitely finished; while owners of small hands will enjoy broad effect, and admire the massive and colossal. CHAPTER V THE MOUNTS The mounts are seven in number. The four upper are placed beneath the fingers on the upper part of the palm, and have the same names and signs (See Fron¬ tispiece): Jupiter, Saturn, Apollo, Mercury. Of the three lower, the Mount of Mars lies between the Heart and Head lines on the percussion; Luna, between the Head-line and the wrist; and Venus encircles the thumb and is bounded by the Life-line. The mounts should be placed between the fingers rather than directly under them, as the balance of the various qualities is then better. If the mount is firm, the qualities it indicates have been used; if soft, they have been neglected or are undeveloped. If the mount is absent, the qualities are wanting. A mount is said to "encroach" when it usurps the position of its neighbor; the qualities then indicated by it are in excess. Where all the mounts are high, a certain indolence in action is shown; where all are flat, the energy is active. Where the two lower mounts, Luna and Venus, 27 28 PALMISTRY appear almost to meet, there will be great warmth of emotion and little self-control. The Mount of Jupiter The Mount of Jupiter is called the social mount, and its predominant characteristic is pride. When devel¬ oped towards the first finger, this becomes self-confi¬ dence. When the mount appears developed between the first and second fingers, it implies self-conscious¬ ness and a tendency to become a looker-on, rather than a sharer in the ordinary social pleasures. If the mount appears developed towards the Heart-line, per¬ sonal pride in possessions, and the affections are shown; while towards the Life-line family pride may be read, and towards the Head-line pride in intellect. If the mount is absent, it shows a lack of self-respect; and if very much over-developed, egotism and vanity. The Mount of Saturn It is not infrequently the case that an old tradition, perhaps regarded as more or less of a superstition, agrees curiously with modern scientific investigation. The fatality of Saturn's mount and finger is an expres¬ sion with which all palmists are familiar. This seems to imply that the indications of the middle finger and mount are certain and unavoidable. In Professor THE MOUNTS 29 3wen's book On the Nature of Limbs, he calls atten¬ tion to the "digitus medius," the most constant of all in the vertebrate series, as the persistent represent¬ ative of the fingers. It shows a superiority of size, though few would be led thereby to suspect that the bones forming the three joints of this finger answer to those of the foot of the horse and that the nail of this finger is represented in the hoof of the horse. We only mention this as a curious coincidence. ''Fatality" can always be more or less modified by the exercise of the will; but a marked characteristic of all those who have the second finger and the mount beneath much developed, is a strong tendency to morbidity, sadness, a love of solitude, and general apprehensiveness. They are attracted to the soil, and will practice agri¬ culture, horticulture, and mineralogy. There is, besides, great constancy, a desire to shun the opposite sex, and to lead more or less, according to other com¬ binations, the life of an anchorite. When the mount is more developed towards the finger, the melancholy tendencies are more marked— often shyness and gaucherie—while should it rise toward the Heart-line, great anxiety will be felt for those loved. If higher toward the Mount of Jupiter, it indicates morbid pride; if toward that of Apollo, great fluctuation of spirits—a struggle of contrasts. An absence of the mount is said to show a "vege¬ table existence,'' but in our experience it indicates an 3° PALMISTRY impossibility on the part of the subject to look on the serious side of life. When the Mounts of Saturn and Jupiter are evenly developed, and the fingers are knotted, we find a patient love of investigation, and with Mercury's mount high and hard, a desire for general informa¬ tion. This last-named mount greatly modifies the melan¬ choly of the Saturnine nature, giving instead a placid philosophy. Saturn's mount is rarely absent in a musician's hand, and, when it is high, implies a taste for classical composition. The Mounts of Saturn and Luna, in combination with a well-marked line of Intuition, give great occult powers, but generally such subjects are very unpre¬ possessing in appearance. The Mount of Apollo The Mount of Apollo shows love of the beautiful in nature; with Jupiter, a social love of pretty people; and with Venus, a love of beauty in the opposite sex. If extremely high, there will be a tendency to "pose," and some affectation. Should the mount rise near the Heart-line, artistic environment in every way will be a necessity. When the mount unites with that of Mercury, a cheerful light-heartedness will be indi- THE MOUNTS 3i cated; but people with high Mounts of Apollo like the sun, and are susceptible to changes in the weather. When the mount is joined to Saturn, great variability of spirits will be the result. The Mount of Mercury The Mount of Mercury lies on the percussion side :>f the hand under the fourth finger, and has the same sign. Its main quality is buoyancy. If much deveh )ped beneath the finger, it shows business talent; and :owards Apollo, cheerfulness and philosophy; if ;owards the percussion, and somewhat squarely 'ormed, there will be great sense of humor, and, in iombination with Mars, practical joking and indiffer- nee to the feelings of others. People with the mount venly developed are fond of children and animals and Qf small pleasures. The Mount of Mars The Mount of Mars lies between the Heart and the Head lines on the percussion, and shows the fighting power of the hand. If in addition the plain (see Fron¬ tispiece) is also high, the subject is aggressive, and will seek occasion for conflict; if the plain is slightly hollow and the finger of Mercury is pointed, he will prefer to settle matters by arbitration, but will fight if 32 PALMISTRY he is obliged. If the mount is developed towards the Heart-line, endurance for the sake of the affections is shown; towards the Head-line, it indicates resistance founded on foresight. If very much developed towards the Mount of Luna, it shows extraordinary force; and if hard, great energy. With a strong thumb and the line of Intuition, this indicates the power to hypnotize. The power of endurance is shown when the mount is very high and evenly devel¬ oped, and the thumb long and strong. The Mount of Luna The Mount of Luna lies between that of Mars and the rascette. When high and hard, it shows 'the ♦ imagination has been practically used. When the mount encroaches on the plain and approaches that of Venus, the force of the emotions is greatly intensi¬ fied, and the power of passion increased. A soft, full mount shows easily moved feelings, dreaminess and an unpractical nature. A marked development towards the wrist shows occult powers, which should be trained carefully, as they are likely to be wasted in dreams. An absence of this mount shows an unsym¬ pathetic nature, while a high and hard one indicates originality, but this should be in conjunction with fingers set very wide apart, and a firm palm, or there will be no practical result. THE MOUNTS 33 The Mount of Venus The Mount of Venus encircles the root of the thumb, and is bounded more or less by the Life-line. Capac¬ ity for emotion is shown in the mount, which should not be too much developed, or the feelings will be uncontrolled; while if too flat the nature is hard and unsympathetic. If the mount is full between the root of the thumb and the Head-line, it shows family affec¬ tion. If it encroaches upon the Plain of Mars, intense sexual feelings are indicated. Developed towards the angles, it indicates a great love for the beautiful in sound—melody. When the mount is soft, the affec¬ tions are easily moved, and as easily diverted. CHAPTER VI THE THUMB "The thumb individualizes the man," saysd'Arpen- tigny, and it is by far the most important part of the hand, as the great controlling powers, Will and Logic, have been located by chirologists on the first and second phalanges. The third division of the thumb is not a phalanx at all, but is the bone lying along the outside of the Mount of Venus, and is technically known as the "thumb metacarpal." Morally, it is significant of the durability of the will with regard to the affections; hence we count constancy on it by length or other¬ wise. Fig. 15 shows a good thumb. The thumb angles are also to be noted. The upper appears to form the back of the base of the second phalanx, and the lower an angle just above the wrist. In all musical hands these are prominent features, and indicate time and tune. When the upper angle is developed in a non-musical hand, punctuality is frequently a marked character¬ istic. When the first phalanx is "poor," i. e., weak and 34 THE THUMB 35 short, it betrays feebleness of will, want of decision and promptitude of action, uncertainty and indiffer- Fxg. 15,—a Good Thumb. Fig. 16.—Weak "Wim*; Strong Logic. ence. If with this weak will the second phalanx is highly developed (Fig. 16), an excuse for this weak- Fjg. 17.—Heavy Thumb. Fig. 18.—Broad but isot Loxa Thumb. 36 PALMISTRY ness will be readily found and excellent advice given to others, although not personally made use of. If, on the contrary, the "will" phalanx is short and thick (Fig. 17), and the second short, impulse and tenacity are shown, and frequently great impatience of oppo¬ sition. If the first phalanx is broad but not long, there is firmness but not tenacity, and the will gives in to long-continued opposition (Fig. 18); but if it is excess¬ ively broad and firm, it betrays unreasoning obstinacy, furious impulse, and exaggeration in all things. When still more exaggerated (Fig. 19), it is said to show the tyrant and murderer, and the owner of such a forma¬ tion is really to be dreaded, as there is a morbid Fig. 19.—Exaggkrated Broad Thumb. Fig. 20.—"VVaistkd and Long Thumb. THE THUMB 37 increase of obstinacy, which makes him uncontrollable in his desires. This sign may, however, be corrected and modified by a good line of Heart and a sufficient Head-line. With modifying signs, the individual may injure himself rather than another in his fit of passion. When the thumb appears to bend outwards, it denotes extravagance and. a love of luxury; in excess, this argues a want of moral sense, as the tastes will be indulged regardless of a sense of honor. When the thumb is set low and recedes from Jupiter, the power of control is proportionately less¬ ened. If the Mount of Jupiter is high, the subject will rush recklessly into debt to gratify personal vanity, love of dress, etc. The shortness of the second phalanx shows a dislike 38 PALMISTRY to argument; and should the sides appear cut away (z. e., "wasted," as in Fig. 20), the subject can only see one side of a question—his own. Such people, with a long Head-line, never forget an injury, or a kindness. A soft hand will greatly modify a large thumb, as the owner will not take so much trouble about his plans, but his life and career will depend upon his companions. Should these be good, he will probably be quite a respectable member of society; but should he come under the influence of a more evil-determined mind, he will be unable to resist its impulses. If the thumb is long and strong, tenacity of purpose and commonsense are shown. Small-thumbed people are governed by the heart and emotions more than the large-thumbed, who are more ruled by the head and calculation. With a large thumb and separated fingers, independ¬ ence and self-reliance are shown, as well as a slight inclination to despotism. If the thumb is of medium size, the energies will carry out the plans eventually, even if opportunities have to be waited for. A thumb set low down is said to show versatility; if set high (Fig. 21), a tendency to meanness. "The Stretch" (Fig. 22) indicates generosity; and with the top of the thumb much inclined, extrava¬ gance. CHAPTER VII THE INDIVIDUAL FINGERS The First Finger If the first or "index" finger is long and straight, it indicates the love of power, the desire to rule and to be pre-eminent, the capacity to carry out this desire showing itself in the combination of a good Mercury finger, a powerful thumb, and a long Head-line. Without these, there is only the desire to be first without the capacity—a petty wish to attract as much attention as possible, to exact homage without deserv¬ ing it. When the finger is unusually long, i. e., longer than the second, in a soft hand, it indicates generally a great love of personal luxury, of pleasure, and of comfort, combined (some palmists say) with an indis- criminating arrogance and egoism which is ashamed of poor relations or associates if surprised in their com¬ pany. A pointed first finger betrays religious exaltation; a conic one, quick apprehension; a square one, great love of logic; and a spatulate one, a certain bluntness 39 4° PALMISTRY of perception, especially if the first phalanges gener¬ ally are cushioned close to the nail. Such a one would congratulate a newly-made widow on her freedom, and plume himself on his social tact. A short first finger shows dislike to personal respon¬ sibility, although it is often found in the hands of those who rule and organize successfully. This apparent contradiction may be explained if the motive of rule is determined. With a long Head-line, a good thumb, and the second phalanx evenly developed, an individual may take the lead in a movement from a conviction of its necessity, but he will always associate himself with others for the carrying out of the project. The best proportion for the finger would be level with the third finger, and just below the second, when there would be reasonable pride and self-respect, and due regard for the opinions of others without syco¬ phancy. The first phalanx, if long and pointed, gives percep¬ tion or intuition; and if the fingers are very smooth and the mount at the base of the first finger is much developed, there is a tendency to ecstasy and mysti¬ cism, religious or otherwise, according to the develop¬ ment of Luna. If with the above formation that mount is greatly developed towards the wrist, then psychic force is inherent in the hand, and should be cultivated, especially if the "croix mystique" is pres- THE INDIVIDUAL FINGERS ent. (This is a small St. Andrew's Cross unconnected with any line, and lies between the Head and Heart lines, under the second finger.) The first knot, when developed on this finger, may¬ be called the '' Knot of Doubt,'' especially in religious matters. Those possessing it in excess question every¬ thing, and find faith an impossibility. The inclination of the first finger must not be for¬ gotten. A curve of the whole finger towards Saturn shows morbid pride. A short and crooked first finger indicates a lack of honor; while a straight, upstanding finger, widely divided from the second, shows inde¬ pendence of thought. If the finger has a curve forward above the third phalanx, "substitution" may be read, i. e., the power of misleading without actual falsehood. The finger should be set evenly with the others, as, if too low, it gives a lack of self-assertion; and if too high, arrogance. The Second Finger The second finger may be said to be symbolical of the force of circumstances, and the effect of this limi¬ tation on the mind of the subject. If the finger is very heavy, long, and strong, then the individual finds it almost impossible ever to look over the edge of the groove in which he appears to be 42 PALMISTRY forced to travel; the pressure of circumstances is much felt, and morbid sadness may rule the character. With energy, and a good Mount of Mercury, a strong thumb, and a good Mount of Luna, the subject will determine to look on the brighter side of things; and these limitations may so strengthen the moral forces that when the opportunity of free action comes, the actor will be ready for his part. If the first phalanx is very long, there is a decided tendency towards fatalism. If the second is longest in proportion, it is said to show a love of agriculture; and in a square hand, should the longer joint be prominent, mathematics and the exact sciences are indicated. If the fingers are smooth and the second phalanx is well developed, a taste for occult science is shown; and if the third phalanx is long and strong, acquisitive¬ ness may be read, especially should the Head-line be long and straight. This finger should not be pointed, as that destroys the balance of the character, and shows frivolity, and, with a short Heart-line, callousness. If at the same time the thumb is short and the Mount of Venus is developed, then there will be an utter lack of caution, and little moral stability. If the finger is square, it implies great prudence and gravity of character. People with this formation are also careful and exact in minute details, and, with a THE INDIVIDUAL FINGERS long second phalanx of the thumb, extremely argu¬ mentative. The general shape is spatulate, which shows cau¬ tion, but, if extremely developed, suspicion. If the finger inclines at the tip towards the first finger, pride may modify the tendency to fatalism; and if this finger inclines towards the third in an artistic hand, realism in art will be the result—a gloomy portrayal of the "seamy" side of life. The second and third fingers, when of equal length, with the first phalanges of both remarkably thick and long, indicate a talent for sculpture; and if the hand is small, colossal work will be planned. When the second finger is remarkably developed in the hand, and the mount is high, great care should be taken to foster the power of endurance, as there will, it is said, be a tendency to cease struggling, and seek the coward's resource of suicide. Such a type of hand would be said to be Saturnian, and it will be found by comparison that the diseases to which that type is sub¬ ject will be latent in the subject, viz., rheumatism and affections of the teeth. The Third Finger If the third finger is as long as the first, and its first phalanx is long and spatulate, it shows artistic taste, which, if the phalanx is firm to the touch, has prob¬ ably been carried out in action. 44 PALMISTRY If it is as long as the second finger, and the second (and not the first) phalanx is conspicuous, this indicates a love of gambling, and, with a high Mount of Mer¬ cury, speculation; and if it is longer than the second finger, it indicates great "dash" and foolhardiness, which may bring off great "coups" or sink the sub¬ ject into the mire. With a long, strong thumb and good Mecury mount, such people may eventually triumph in the face of every obstacle. If the tip of the finger is conic, there will be artistic ideas, but little execution; if pointed, a love of the ornamental rather than the truly beautiful; and if squared in an artistic hand, great exactitude in details —a Dutch-like fidelity to minutiae. A spatulate tip to this finger shows a love of form, action and movement in art, and, with a turned-back thumb and high Luna, a love of the drama. An artist with this shaped phalanx and a square palm will paint battle pieces, and seize dramatic situations to reproduce. The first phalanx long shows capacity for discerning "form," and if wide as well, the sense of color will also be good. If long but not wide, with rather long fin¬ gers, black-and-white work will be preferred, and great exactness of "line" may be expected. On the squared development of the second phalanx we have located the love of animals—of pet animals, that is to say, not those desired for sport only, the lik- THE INDIVIDUAL FINGERS ing for which is seen on hands with Mercury and Mars well developed. If the third phalanx dominates all the others, a desire for wealth, in order to procure luxurious sur¬ roundings, is indicated. Development of the first knot on the finger gives a desire of finish and checks inspiration; the second knot developed is said to show desire for gain. The Fourth Finger The fourth finger, called by chirologists "Mercury," may be compared to the final link which completes the chain—insignificant perhaps in itself, but important irom the position it occupies. The fourth finger is not so strong generally as the others, but in chirology the position assigned to it is most significant. It rep¬ resents the twofold capacity or the power of making use of one's own talents and of those of others. In excess this would show cunning and dishonesty. It is not essential that a clever hand should have this for¬ mation, though, if the finger is thin and small, there will be no power to develop the ideas of the thinker; but all who have achieved success in any walk of life have this finger noticeable either in length, breadth or thickness. Those who have the first finger long desire to rule, as has been said, but will fail if the fourth is not at least equally well placed. 46 PALMISTRY The placing of the fingers is hereditary: their development our own work. A badly placed finger may be developed by cultivating the qualities it repre¬ sents. If this seems incredible, compare the right- hand fingers with those of the left of any one who has cultivated a special talent, such as painting, and the change will be easily seen. If the fourth finger is very short, there will be diffi¬ culty in carrying out the plans; with a long Head-line and a strong thumb, however, the subject may "achieve," but by his own almost unaided exertions, and sheer hard work. The first phalanx pointed, indicates tact, and with a forked Head-line, diplomacy; if it is long as well, fluency in speaking is shown. We have noted that where speech is defective this first phalanx sometimes appears cut away. Where the finger is conical or pointed, there will not be much practical outcome of this flow of words, but, as Heron-Allen remarks, such subjects make good "after-dinner speakers, and complimentary orators." When too pointed, finesse and trickery will be found markedly in the character. Squareness of the tip makes good teachers, and with a long phalanx there will be great aptitude for cloth¬ ing thought in terse, striking words. Scientific lec¬ turers have this peculiarity—orators and philosophers who love discoursing and argument on scientific THE INDIVIDUAL FINGERS 47 grounds. Where this formation is very marked, and the second phalanx of the thumb is also well-formed, the speaker will arrange all the arguments in appar¬ ently a perfectly convincing manner for both sides of a question, giving fair play to each as far as possible. If, however, this finger is spatulated, there will be the desire of movement, which will lead to interest in machinery and a talent for mechanics. In a woman's hand, this often betrays the excellent, if somewhat fuss y, housewife—"always doing, never done." The length of the second phalanx gives the power of expression of words in writing; and if very squarely developed, aptitude for accounts. The third phalanx may be said to indicate worldly wisdom and perspicacity. If this finger is crooked, there is a tendency to miss opportunity, and not to use the talents indicated by the rest of the hand. CHAPTER VIII THE PHALANGES The following scale gives the normal divisions of the phalanges of the fingers (Fig. 23). A normal third phalanx will be 4^ tenths in length, A normal second phalanx will be 3 tenths in length. A normal first phalanx will be 2^ tenths in length. Any marked deviation ought to be considered excess or deficiency. These phalanges, or divisions of the first fingers between the joints, are reckoned downwards from that containing the nail—first, second, and third. Desbarrolles calls these "representatives of the three worlds." First, ideal; second, intellectual; and third, material. The first phalanges show the type, and consequently the class to which the hand belongs. Pointed=The subject imagines, but does not exe^ cute (ideality). Spatulate=Practicality (action). Square=Desire for visible result in all things (materialism). , 48 THE PHALANGES 49 If, as is frequently the case, the fingers show exam¬ ples of different types, then each finger must be taken separately, and the various characteristics balanced one against the other. Thus a pointed first phalanx 0 t.« « 5f/ - J/0 a w & . " %- V io- c & -c A _ A. O » "5 U \ Fig, .23.—The Phalanges. of Jupiter in an otherwise square hand gives percep¬ tion of the ideal, which will modify the hardness of the square fingers. The practical result will be a love of reading. The following table will show this: PALMISTRY The First Phalanges Conic. % Perception. k Frivolity. O Artistic ideas. £ Tact. Spatulate. Lack of Perception. Prudence. Movement in art. (drama). Business manage¬ ment. Square. Bluntness. Morbidness. Reality in art. No tact The first phalanges long in proportion to the others show constructive ability (ideas in action). The second long in proportion indicate desire for intellec¬ tual life. The third phalanges indicate love of material pleasures. These third phalanges, when thick and developed above the palm, show self-pleasing, greedi¬ ness, love of eating and drinking, and, if very soft and full, a love of smoking. If these phalanges are cut away at the sides, the subject is fastidious, but not greedy. If they are flat and not otherwise unremark¬ able, then the pleasures of the table have no attraction: the subject can "rough it" with enjoyment. A deep cut at the base of the third phalanges is said to'indicate shyness. First Phalanx long. Superstition. Jupiter Second Phalanx long. Power to rule. Third Phalans long. Desire to rule. THE PHALANGES 5i Saturn Desire for land; love of the soil. Love of display. Power of words. Business capacity. Worldly wisdom. (In excess, lying.) Fingers well placed and straight show an evenly developed character. Twisted or crooked fingers indi¬ cate a hysterical tendency. The inclination of the fingers towards each other should be considered. If they all turn towards Saturn, there will be more melancholy in the life. Jupiter Towards thumb = Great desire for independence. " h Morbid pride. Saturn Melancholy. Love of flowers and agriculture. Apollo Love of art. Intellectual art. Mercury Towards % = Superstitious sadness. " O = Less morbidity. PALMISTRY Apollo Towards k = Morbid vanity. " £ = Art applied to business. Mercury Towards O = Science united to art. The Stretch of the Fingers Between % and thumb = Generosity. " % " k = Independence of thought. " k " O = Independence of circum¬ stances. " O " £ = Independence of action; Bohemianism. If all the fingers fall easily and wide apart = Uncon- ventionality. If all the fingers lie close together and are still = Conventionality. Lines on the Phalanges Straight lines on the phalanges are good, showing success; transverse lines show obstacles. A deep line running up the third and second pha¬ langes of Jupiter signifies some pet ambition—this may be demonstrated from the rest of the hand. Trans¬ verse lines on the third phalanx are said to show money by inheritance. Tradition connects the second THE PHALANGES 53 finge** with mining operations, two parallel lines show¬ ing success. A straight line up the finger of Apollo shows marked success. A half-circle on the third phalanx shows misfortune. Confused lines on the third phalanx of Mercury show deception. A circle or half-circle on the second phalanx indicates a thief. One line shows scientific success. A crooked line like a furrow crossing the lower phalanx shows astuteness, especially in self-defence. Many small lines on all the phalanges show delicate health. CHAPTER IX THE HEART-LINE The Heart-line lies beneath the four upper mounts (See Frontispiece), and should be clear, well colored, and distinct. It indicates the condition of the heart. Its usual starting-place is in the center of the Mount of Jupiter, and its termination is beneath the Mount of Mercury, on the percussion (Fig. 24). "Fig. 24—Good Heart-line to Jupiter. Fig. 25;—Heart-link Mated to Head and Life Lines. Branches are channels wherein the affections are especially concentrated. If they droop, sorrow is caused by the individuals indicated on those branches; 54 THE HEART-LINE 55 Fio. 26.—Barred Heart-line. Fig. 27.—Broken Keart-line and Square of Presebvatiojt but a rising branch, where one rises and one falls, shows happy friendship (Fig. 25). If the line is placed high on the hand, jealousy is shown, more or less intense according to the color of the line. If it is placed low, then the subject will be indifferent, and calculation will take the place of feel¬ ing. A rather unusual combination is where, instead of two distinct lines, only one is marked (as shown in Fig. 26). If the reader will refer to the illustration, he will notice that, though greatly resembling the "bar-lines" shown in the chapter on the Head-line, the difference is in the position, the Heart bar-line being placed higher up in the hand than the Head bar-line. When this is the case, emotion and calculation will 56 PALMISTRY always be at war, and the action will depend on which mood is uppermost, and should the Ring of Saturn run parallel with the bar-line of Heart, jealousy will be so excessive as to make living with such a person abso¬ lutely unbearable. It is said that the Line of Heart, when it goes com¬ pletely over the side of the percussion, denotes the true "John Bull," who never knows when he is beaten. If the line, instead of beginning on Jupiter, starts on the Mount of Saturn, the affections will be more material and selfish; and if the shorter line curls round the percussion, great daring in love is the tra¬ ditional meaning. A branch rising towards Jupiter, having the appear¬ ance of being suddenly checked and thrown back upon itself, especially if a small deep red mark is found on the Heart-line near it, shows that the person most loved has proved unworthy, and that with the loss of faith in this person all faith has been destroyed. When another branch rises opposite this break, it tells that later the natural powers of idealization, checked previously, will be restored by love for another per¬ son, who, if the branch rises straight and clear, will, as nearly as possible, realize the ideal. In rare cases, what almost appears to be a hole appears in the line, where the disillusion and hopeless failure of an attachment is shown; but occasionally a fresh line starts even from this break, showing that THE HEART-LINE 57 faith will survive all disappointment. If the line is red, the feelings are quick and violent; a pale line shows indifference, and in an evil hand blase affec¬ tions. A tinge of yellow on the line is considered'to indicate a liability to liver complaint. A chained Heart-line (as the end of the line in Fig. «5) is said to show an inveterate tendency to flirtation, but is also considered to be a sign of palpitation of the heart. When the Line of Heart forms a fork, of which both branches are exactly equal, it is said to be an unfailing sign of trueness of heart. It tells of one love only; the person loved may die, or prove unworthy, but no one will ever fill the empty place (Fig. 28). The Heart-line dropping to the Head-line, and causing a narrowness of the quadrangle, indicates narrow and Fig. 28.—Forkei> Heart-lime. Eio. 29.—Charmed Heart-line. 58 PALMISTRY conventional ideas. If in one hand (left), and not in the other (right), these narrow views are inherited, but the subject himself will be more liberal-minded. The feelings of love and hate will be very strong with this formation in connection with a hard hand; and if the nails are red, and the Mount of Venus is high, passion will be uncontrollable. Such subjects are good defenders of absent friends as long as those friends are all they expect, but are quite implacable if disap¬ pointed. All breaks or deep-red spots (Fig. 27) on the line are heart troubles; but it is perhaps carrying out the idea a little too far to indicate the causes of such sor¬ rows from the position of the spots beneath the mounts. A square would indicate recovery from ill¬ ness (Fig. 27). We, however, quote the traditional meanings, and our readers may test them for them¬ selves. Should the spot occur between Apollo and Mercury, the trouble is caused by stupidity and avarice; under Mercury, by avarice, ignorance, and incapacity. Should the spot be very red, the trouble has been deepened by strong feeling being mingled with it. A Heart-line rising from Saturn, and chained and fretted by many small lines crossing it (Fig. 29), shows a tendency to inconstancy; and with a weak thumb and a soft hand, the subject cannot be depended on either in love or in friendship. But should the line be THE HEART-LINE 59 straight, short, and clear, the Line of Head also good, and the first phalanx of the thumb strong, such a man will have absolute control of his feelings, and will sacrifice every one and everything to attain his ends. If the line stretches straight across the palm, he will stick at nothing to obtain what he wants, his constancy being beyond dispute. We have heard of the posses¬ sor of such a hand remaining unshaken in his devotion for years, without a shadow of hope. Branches from the Heart-line running up to Jupiter Fig. 30.—Branches and Islands Fig. 31.—Double Heart-link, on Heart-line, ' show friendships that gratify the ambition; and down- dropping branches (Fig. 30) show sorrow and disap¬ pointment in friendship, often disaster. Sometimes the line is joined to both the Line of Head and the Line of Life under the Mount of Jupiter 6o PALMISTRY (Fig. 31): this always shows great unhappiness through the affections—either an ill-assorted marriage or other deep heart grief. Solomon's Ring When the Heart-line rises and curls round the first finger, it forms what is known as "Solomon's Ring," and indicates the possession of great occult gifts. The Girdle of Venus The Girdle of Venus has had a bad name since the time of Desbarrolles, whose researches, being confined mainly to the hands of his own countrymen and women, caused him to ban this sign as indicating a tendency to immorality. It is generally present in the conic or psychic type of hand, and shows a highly strung nervous temperament, one which will go further in the pursuit of ideals, with less regard for the opinion of the world, than others. Thus it was, possibly, that the cheiromant found that those who possessed this mark were willing to risk more than the colder, more calculating natures, and hence his unfavorable conclusions. The Girdle of Venus is a half circle, of which one end lies between the first and second fingers, and the THE HEART-LINE other between the third and fourth. When completely formed it cuts the Lines of Fate and Fortune, and unless the energy of the subject breaks through all obstacles, deprives the hand of its ultimate success. As it cuts off the Mounts of Saturn and Apollo, it is said to deprive the hand of the foresight of the one and the sunshine of the other. It is found in those who have a restless disposition and high ideals, and are consequently liable to disillusion. We have seen the line gradually alter and grow down into a second¬ ary Fate-line, showing that an early disappointment has caused the subject to put all his energies into some career, and that he has been very successful therein. If the line units with one of the Mercury percussion lines, it does not always mean unhappiness, only that the life will be dominated by some one of the opposite sex. A break in it is said by some to be good, as prevent¬ ing the ill effect; by others it is considered to indicate a great disappointment in the affections. The Ring- of Saturn This is a half-circle bounding the Mount of Saturn. It is an unfrequent sign, and strengthens the natural morbidity of Saturn. People with this feature have often extraordinary powers; and, with Luna developed towards the wrist, occult faculties; but they refuse to. 62 PALMISTRY cultivate such powers, and try to extinguish the light within. This mark, too, can be greatly altered by an ener¬ getic determination to look on the brighter side of things. CHAPTER X THE HEAD-LINE This line starts from beneath the Mount of Jupiter and continues across the center of the hand towards the percussion of Mars (See Frontispiece). It should be clear, well colored, and slightly sloping towards Luna, and indicates generally the mental capacity of the subject. As always, the depth of the line shows concentra¬ tion, and should it be short, i. V J?ig. 56.—Uncertainty in Money Matters. Fig. 57.-~Money and Ar®i Combine./ 84 PALMISTRY When the Fate and Apollo lines appear mingled or united in an artistic hand (Fig. 57) the making of money by art is the object of the career. Cross-lines show obstacles. Lines from either Venus or Mars cutting the Apollo- line (Fig. 58) indicate loss of money through relatives who are malicious. Relatives. A forked line (Fig. 59) shows two sources of money; should the line weaken at the point of juncture, there will be "too many irons in the fire for them all to heat," or too many ventures for success. CHAPTER XIV THE HEPATIC A This line is frequently a difficult one to trace, owing to its tendency to cross and assimilate with the Lines of Apollo (or Fortune) and Intuition. A glance at the map of the hand (see Frontispiece) will show its proper position; but in these days of rush and hurry a really good Hepatica is not often to be met with. A complete absence of the line is said to show' unusual strength of constitution, the reason probably being that the happy subject, feeling always "up to the mark," never considers his health in the least when arranging his plans. Where, on the contrary, an unusually deep line is present (Fig. 60) it may be taken for granted that the owner of the hand has not good health. As we have so often pointed out, it is the amount of thought expended on any particular channel which deepens the line. An exaggerated depth is sometimes indicative of disease, especially when the line appears red, and a? if plowed up the hand. Some palmists place financial matters as well as health on this line, but except that a man's business 35 86 PALMISTRY position is largely affected by his health, it appears to be a mixture of cause and effect which is rather con¬ fusing. Any unevenness of the line is a warning sign. A twisted and wavy line is a sign of indigestion or bilious¬ ness. Breaks in the line indicate illness—red, fever; r Fig. 60.—A Deep Hepatica. Fig. 6J.-xInherited Family Weak¬ ness ; Changes in Consequence op Health. yellow, jaundice. In severe cases of the latter com¬ plaint, all the lines share in the peculiarity of color. It is said that a coming sickness marks itself in this line by a little deep cross-line, while a past sickness marks only the Life and Head lines, leaving (Heron- Allen says) merely a gap in the Line of Health. In Fig. 60 we see the evenly developed Hepatica, with no twisting or fluctuations, rising from the THE HEPATICA 37 Mount of Luna. Taking this indication with the good Life-line, it shows unusually good health: the subject will probably never "ail anything," and most likely will die of old age. In Fig. 61 the line starts from the Life-line—always an indication of some hereditary family weakness. It is waved, attenuated, and broken, but improves between the Head and Heart lines, showing that the subject will be stronger in middle life. It will be noticed that it mingles with the Lines of Fate and Apollo, and crosses appear just above the union. These, more or less clearly marked, show that the health interferes with both career and money; in fact, that changes have taken place in consequence. « o 5 >f Fig. 62.—a. Somnambulism ; btAi2, Illness. Fig. 68.—"Waving Hepatica-line ■with Cross (a) on Luna, and Circle (b) on the Line of Mars. 88 PALMISTRY Further, the curved line, with the inclination towards the center of the palm, is the Line of Intui¬ tion. Where it mingles with and breaks the Hepatica, a warning should be given not to cultivate too assidu¬ ously the psychic gifts at the expense of the general health. A long island at the base of the line (Fig. 62) is said to indicate somnambulism. The illustration also shows a weak Life-line, definite breaks on the Hepa¬ tica, followed by a deepening of the line, from which we argue that the result of the illness will last some time. In Fig. 63 we see the waving commencement of the line—one indication of illness, viz., the cross; while the second—the circle with a dot in the center, appear¬ ing on the Mars Mount—is said to indicate a wound. The Via Lasciva or Cephalic Line This line (see Frontispiece) is not of frequent occur¬ rence, and appears generally as a sister line to the Hepatica, but where it appears to cross the Mount of Luna it may be confused with the "Drink or Drug Line,'' which appear in that part of the hands. It appears to add intensity to the lower passions by concentrating them in some special channel; and tying, as it does in that case, at some distance from the control of the Head-line, the impulses will be less guarded. CHAPTER XV INFLUENCE AND MARRIAGE LINES That the .thought-currents emanating from other minds exert an unconscious influence on our brain- matter, and consequently upon the lines of the hands, is a theory we may accept if we cannot mathematically prove; but when these thought-currents mingle with the affections or emotions, the influence is of course much stronger. The type of hand most influenced by others is the soft, flexible one with a backward-turning, conic thumb; but all are more or less under the domination of others, the only difference being in the variety and duration of the impressions. In a strong-willed hard hand, these impressions may be fewer, but will be more permanent; and occasionally we come across a hand with the influence of one other indicated only, although, as Desbarrolles says, "ces mains sont tares.'' The most usual influences are those touching the Fate from Luna, but really it is those crossing Venus in various directions (Fig. 64) which are the most important, and their presence down what is called the "seat of the emotions," showing the various channels 89 9° PALMISTRY through which the feelings are called out, is quite logical and easy of comprehension. These attendant lines between the Line of Life and the thumb invari¬ ably indicate lives so influencing the line they follow, as to become important factors in its interpretation. Measurements from such a line to the Line of Life give the date at which such an influence begins. If the line starts away towards the thumb, distance, mental or physical, will divide the two lives; but if the line continues deep and strong, almost parallel with the Life-line, the influence is undiminished. Various lines lying across the mount, from the root of the thumb to the Life-line, show the influ¬ ence of others (not sentimental), and the closer these lines are to the Life-line, the greater the impres- Fxg. G4.—Crossing Venus. Fig, 65.—Nonb Touching. INFLUENCE AND MARRIAGE LINES 91 ion. If none of them touch (Fig. 65) the subject i? impressed, but his course of life is not interfered with. A theory has been started that the left-hand line^ indicate one's relatives by birth, and the right-hancT ones those by marriage, but so far it has been difficult to prove this. A line cutting across the hand from the Mount of Venus, touching the root of the thumb, and terminat¬ ing on either the Head or the Heart line, is frequently a sign of marriage or matrimonial intentions. If, at the date when the line crosses the Life, an influence- line touches the Life-line and droops downwards (Fig. 66), this sign is much strengthened. If a line rises at \he same period, the probabilities are that a change Fig. 66.—Touching Life-line and Drooping Downwards. Fig. 67.—Line from Venu$ to Heart. 92 PALMISTRY for the better is indicated; but if the rising line stops at the Head-line, a mistake in judgment is to be feared. When one of these Lines from Venus goes to the Heart (Fig. 67), it indicates unhappiness caused by the person whom the line represents. If an island appears in the line, the individual's moral or physical health is impaired. A line rising from one of these transverse Lines on Venus and going towards Apollo means money losses caused by relatives if the line breaks, but if it doubles an increase of wealth from some similar source may be read. The Mercury Pereussion-lines These are transverse lines lying between the base of the little finger and the Heart-line, and signify attach¬ ments, but not necessarily marriage. , If they agree in date with a Venus or Luna influ¬ ence-line, the probabilities of a marriage of real affec¬ tion are strengthened. Roughly speaking, an attachment-line across the center of the mount may be dated about 36-39; nearer the Heart-line, they are said to show the earlier impressions; and towards the finger, the later ones, but this appears to be a little uncertain. A line curving downwards shows sorrow or disap¬ pointment in the affections, INFLUENCE AND MARRIAGE LINES 93 When the line curves tip towards the finger, the attachment will not end in marriage. The length and depth of the lines show the duration of the attachment, so that marriage may occasionally be indicated. If the Marriage-line joins the Ring of Venus, disil¬ lusion is indicated, but these signs are treated in Chapter IX. When a strong line cuts through the percussion-line strife and opposition are shown; and where the line ends in a deep dent or dot separation by death may be read. A percussion-line cutting the Lines of Life, Head, and Heart, shows matrimonial trouble; if it crosses the hand towards the Mount of Venus and terminates in a square, an appeal to the courts will be possible. When the percussion-line is long, strong, and deep, but not red, constancy and tranquil happiness are shown; but when it turns down to the Heart-line unhappiness may be read; and if a Line of Trouble crosses the Fate from the Heart-line at the same date there is a probability of widowhood. Where the line is short and partially broken it implies death during the engagement. An island on the percussion-line is said to show a love affair with a cousin; and an island terminating a long Marriage-line is considered to indicate that the separation by death is caused by hereditary illness. 94 PALMISTRY To elate the period of the attachment, take a slant¬ ing line across the hand from the percussion-line to the Line of Life, and if one of the Venus influence-lines is found approaching the Life-line at the same point, marriage is possible at that date on the Life-line; but corroboration should always be sought on the Satur- nian, where marriage is generally marked as a change. CHAPTER XVI LINES ON THE MOUNTS, ETC. The Mount of Jupiter Lines crossing the Mount from Venus to Saturn show family misfortunes. Lines crossing the branches of the Heart-line on the mount indicate misfortunes in love. Lines rising from the Life-line towards Jupiter show changes for the better. A line from the Lines of Fate or Fortune, turning towards the mount, indicates changes for the better in social position or money. A triangle shows ambitious diplomacy. The Mount of Saturn Many crossed lines forming a kind of irregular star on Saturn indicate much ill-health and trouble during the close of life. One deep line on the mount, forming the end of the Fate-line, shows a peaceful and monotonous ending. A line across the Fate-line on the mount indicates 95 96 PALMISTRY unavoidable misfortune. This may be modified by a good Apollo-line. A triangle is said to show a taste for "black" magic. The Mount of Apollo A deep Line on Apollo shows one career—the nature of which must be read from the hand. Two or more lines indicate various interests. A forked line shows the conflicting influences of two careers. A line passing from the base of Saturn across the mount and line indicates unavoidable money loss. A line rising from Venus and crossing the Apollo- line on the mount shows loss of money from some member of the family late in life. A triangle is said to show science applied to art. The Mount of Mercury A line deeply marked downwards on the mount shows scientific tastes—whether developed or not, the rest of the hand will show. Several lines indicate generally medical science. In the hands of women these generally show the "nurse." A line across the Mount of Mercury—not a percus¬ sion-line—would show loss through theft. A triangle may indicate craft in politics. LINES ON THE MOUNTS The Mercury percussion lines, sometimes called the "Marriage Lines," are treated at the end of Chapter XV, page 92. The Mount of Mars Lines across the percussion signify enemies. By their length and depth the extent of their power can be calculated. Small cross-lines on the percussion show scandal. If the lines cross the Hepatica, Apollo, or Fate lines, they show interference, which affects the health, money, or career. If the lines extend to Venus it is relatives who are malignant. The Mount of Venus Upper.—A deep groove across the mount towards the Life-line indicates dread at the prospect of physical pain. Lines from the base of the thumb across the mount towards Jupiter show family influences, parents, etc. Lines across the mount crossing the Life-line towards the Fate show worries from members of the family. If they touch the Head-line, mental troubles only; if the Heart-line, deep sorrows. Lower.—Lines crossing from the base of the thumb to the Life-line show the people with whom the sub¬ ject has principally to deal. 98 PALMISTRY The long lines parallel with the Life-line, are described in the chapter (XV) on "Influence and Marriage Lines." A triangle is said to show calculation in love. The Mount of Luna Lines rising upwards from the rascette across Luna towards Mars show long voyages; crossing trans¬ versely, various travels (if deeply marked, generally pleasant; crossed, broken, or islanded, unpleasant); with squares, dangers escaped. The Mount of Luna crossed with innumerable small lines is said to indicate nervous complaints, neuralgia, etc. A triangle is considered to show mysticism. A straight line from the percussion to Venus points to intemperance. The Line of Intuition This line lies in a half-circle on the Mount of Luna, having one end on the mount and the other on Mars, the central point lying towards the middle of the Plain of Mars (see Frontispiece). It is rare to see this unattached or not mingled with the Hepatica, but when that is the case, the occult gifts are greatly increased. LINES ON THE MOUNTS The general position of the Line of Intuition is mingled with the Hepatica, and it gives a warning that too incessant study of esoteric matters will be bad for the health. A well-formed line shows that the possessor has natural occult powers, which ought to be carefully developed. The Line of Mars -This line lies within the Life-line (see Frontispiece), and greatly increases the vitality of the subject, fre¬ quently bridging over a break in the Life-line, and adding to the chances of longevity. It must not be confused with an influence-line. It mingles with the Life-line sometimes, making that line appear chained. The Plain of Mars This lies in the center of the palm of the hand, and shows the aggressiveness of the subject. If very high and hard, great combativeness is shown. If it is hollow, submission, either to circumstances or health, is indicated. This hollow is observed by "Cheiro" to incline more to one line than to another, and he gives the following readings:—Under the Life-line, domestic troubles; under the Line of Fate, disappointment in business; under the Apollo- line, failure in art and position. IOO PALMISTRY A hollow at the top of the quadrangle under the Heart-line, shows disappointment in "the dearest affections.'' Care must be taken to distinguish between a really hollow palm, and a palm which appears so by reason of the height of the mounts surrounding it. CHAPTER XVII THE RASCETTES The rascettes (bracelets) and "restreintes," as Desbarrolles calls the lines on the wrist just below the palm (see Frontispiece),, have been but partially noticed, and yet, although not on the palm, they must have a meaning, and so prove interesting. The arbitrary meanings applied without rhyme or reason, and the truly remarkable conclusions to which writers come, are enough to discourage one at start¬ ing; but a further search reveals the not unknown conclusion, viz., that all would-be seers have drawn their conclusions from Desbarrolles more or less (generally less) correctly translated, sometimes with comments of their own, more or less absurd (generally more). Yet that there ought to be something in these lines, and that in missing their meaning we lose some¬ thing we can ill afford, is no wild conclusion, but a logical result of this study of ours; and if, in this first endeavor, the conclusions seem far-fetched, well, they are the best we can discover, and must be taken cum grano salis. "Cheiro" thinks that these lines are not so important as the other lines, yet should not be entirely neglected. xoi 102 PALMISTRY The upper one, if arched, shows internal delicacy; but if well and clearly defined, points to a good con¬ stitution. Of the others he takes no notice. Heron- Allen divides the bracelets into the rascettes, which are the upper lines (nearest the palm), and the res- treintes, which include the two lower. The lines being evenly formed and colored through¬ out, give each about thirty years of life, but twenty- seven or twenty-five is the average length occupied by each line. The rascettes often show a lengthened life, even when the Life-line is short, and if all three lines are good and clear, the happy owner may expect good luck, good health, and tranquillity. On the contrary, badly-formed lines are said to show extravagance. Taking the lines of the rascettes separately, on the first or upper line, we read: If chained, laborious life, but fortune at the end of it. The other lines, if badly formed, show extravagance (which is rather hard on the two lower lines). One writer adds that the lines should be bright pink —a natural blush, considering what is said of them! Of the signs in the rascettes there are three, viz., the star, the angle, and the cross. The "star," as usual, is not very favorable; it indicates a hard life, but end¬ ing in good fortune, quietness, and an inheritance. Inheritances, according to these prophets, seem to live in the rascettes, for if you are the happy possessor of THE RASCETTES the angle therein, you are sure of something called mysteriously "honors and inheritances." The cross in the center of the rascettes shows a hard life, ending well, however—a curious reading, truly. The star, by-the-by, in a unchaste hand, is said to show a sensual nature. So much for the lines themselves; but we must not overlook the smaller lines connected with them. Lines rising up from the rascette mean long voy¬ ages; but if they rise to Jupiter there is no return, or the journey will be very long; and if the line ends on the Line of Life, possible death is said to be indicated. Further upward branches show that the subject means to rise in power and position; downward ones, the reverse. If the lines are much better formed in one hand than in the other, it is a sign that opportunities have been wasted and the subject's career spoilt by his own will —there is more capacity than has been used—but the contrary is the case when they are better marked in the right hand. CHAPTER XVIII VARIATION IN HANDS AND LINES The variation in the hands of the same person con¬ stitutes one of the initial difficulties of Palmistry, as to the student a positive sign in the left hand may be wanting in the right, and vice versa. In reading facts, the right hand will be found the more reliable. In the left our natural character and inherited tend¬ encies are shown, while in the right we can see the surroundings and training which develop the char¬ acter. The present is more clearly marked on the right hand; the past and possible future are indicated on the left. When both hands have the same sign at the same date, the portent may be considered more positive. When there is a marked difference between the hands, the left showing many more events than the right, the subject's mental life has been more varied; the impressions have been very intense, but circum¬ stances have been against his carrying them into action. Changes of disposition, improvement or the reverse, are also very clearly indicated. 104 VARIATION IN HANDS AND LINES 105 In the illustrations, taken from casts, some of these changes may be noted. Figs. 68 and 69 show the difference in two hands of the Heart-line of the sub¬ ject. In the left the line is fairly even, but three small drooping branches show sorrow in the affections, which has caused the subject to lose his ideals and limit his affections to a much smaller circle—to become, in fact, more selfish. As the right hand shows no drooping lines, any affection felt by the sub¬ ject was not returned. The Head-lines also differ. In the left hand circum¬ stances prevent early independent action, and the judgment is imaginative (line turning down to Luna) rather than practical. The disappointments felt make the subject more practical and less romantic, as the io6 PALMISTRY Head-line is far straighter in the right hand than in the left. In Figs. 70 and 71 the ominous marks on the Life¬ line are greatly modified and improved, but, as in the right hand, the tendency of the Life-line is towards Luna. The cause of the improvement will probably be foreign travel. The Head-line shows a smaller fork in the right hand than in the left—there is less diplomacy; but as the bar between the Head and Heart lines is more marked in the right than in the left, the trouble had more lasting practical results. It was not felt more than was anticipated, but interfered more with the career. VARIATION IN HANDS AND LINES 107 CURIOUS MARKINGS descriptive list Spots.—a on Life-line; b on Head-line; c on Mercury- line ; d on Heart-line. Triangles.—a on Saturn; b on wrist. Circle.—a on Mount of Apollo. Grille.—a on Mount of Apollo. Stars.—a on Mount of Jupiter; b on second phalanx of thumb; c on Mount Venus; d on Line of Apollo; e on Luna-line; f on Finger of Jupiter; g on Mercury- finger; h in quadrangle; i on Mount of Mars. Islands.—a on Life-line; b on Head-line; c and d on Heart-Line; e on Fate-line; f on Hepatica; g on Mercury-line; h on Luna-line. Hair-lines.—a on Mount of Mars. Crosses.—a on Mount of Jupiter; b in quadrangle; c on Mount of Venus; d in angle of palm; e on wrist line; f in angle of wrist; g on third phalanx of Apollo finger; h on first phalanx of Apollo finger. Squares.—a on Life-line; b on Fate-line; c on Head-line; d on Luna. Bar-lines.—a on Life-line; b on Mercury-line; c on Jupiter finger; d on Jupiter finger, third phalanx. CHAPTER XIX CURIOUS MARKINGS These are not nearly so frequent as are generally supposed, crossed, growing, and fading lines being often responsible for stars, grilles, triangles, etc. It cannot be too earnestly impressed upon the student that it is only when the special mark is quite clear and dis¬ tinct that its significance is to be considered. Spots The spot is a very usual sign, and is generally a con¬ centration of "energy," if one may so say. The color varies from black to white, and from blue to red. Dark spots on the Life-line denote nervous attacks, according to some palmists. A bluish spot or dent in a square is frequently a sign of malarial or typhoid fever, blood-poisoning, or influenza, which tends to prove how near akin they are. White spots on the Life-line (a, Fig. 72) are often confused with circles, and like them are said to show injury to the eyes. The injury is often more severe than when a circle only is shown. 109 no PALMISTRY A red spot on the Head-line (b) often indicates a wound to the head when it occurs under Apollo, troubles with the ears when the spots appear on the line under Jupiter, and nervous complaints on other positions on the line. A dot or spot on a Mercury percussion-line (c) shows a shock to the person represented by that line; on the Heart-line (d), a severe sorrow producing physical weakness. The Triangles The triangle should be neat, small, and well made. It appears to denote scientific aptitudes. On Jupiter, Heron-Allen considers, it shows diplo¬ macy; but unless the hand is diplomatic (z. = The lower part of the percussion of the hand. Mars $ = The percussion of the hand below the Mount of Mercury. Mercury $ The fourth finger and the mount at its base. Morbidity = Unhealthy melancholy. Mount (Tuberculum) = A pad or cushion. The four upper ones are situated beneath the fingers; the three lower on the other parts of the hand (see Chapter V), Mysticism = The appreciation of the supernatural. Occultism = The study of secret sciences. Originality = Individuality of thought. Perception = The appreciation of mental and moral atmospheres. Percussion = The side (or striking part) of the hand opposite the thumb. Phalanges = The divisions of the fingers. Pose = Artificiality. Presentiment = Foreknowledge. 146 PALMISTRY Quadrangle = The space between the Head and the Heart lines. Rascettes = Lines below the palm of the hand across the wrist. Ring of Saturn = See Chapter IX. Ring of Solomon = See Chapter IX. Ring of Venus = See Chapter IX. Saturn k = The second finger and the mount at its base. Self-consciousness = inability to sink one's own person¬ ality. Sensuousness = Intense pleasure in the gratification of the senses (sight, hearing, etc.). Spatulate = See Fig. 2. Spot = A red, black, or blue point on any line, indicat¬ ing some sudden occurrence (see Chapter XIX). Square = A mark of escape or preservation (see Chap¬ ter XIX). Stars = Five crossed lines within a circle (imaginary). A small, separate mark unconnected with other lines (see Chapter XIX). Stolidity = Ponderous unimpressionability. Subject = The particular individual who is being analyzed. Superstition = Unreasoning dread of natural phe¬ nomena. Tact = Resourceful discrimination (generally shown in management of people). DEFINITIONS 147 Triangle, The = The space between the Lines of Head, Life, and Health. Small triangles are treated in Chapter XIX. Types = Classes of hands. Vanity = An incorrect estimate of what one is (distin¬ guished from "conceit"—an incorrect estimate of one's powers). Venus ? = The mount situated between the Life-line and the base of the thumb CHAPTER XXVI GASTRONOMICS In this chapter we deal with the gastronomies of the various types of subjects, i. e., those who have the special mounts and fingers dominant. Jupiterians.—Large eaters and drinkers, with a firm, stout appearance. Punctual meals, consisting of a long menu, handsomely served. Prefer rich and full-flavored foods, joints and steaks, luxuries, especially expensive things "out of season." In Excess.—Extravagance to wastefulness. Favorite Dishes and Drinks.—Turtle soup; turbot, trout; entrees highly spiced with cloves; mace, nutmeg, etc.; beef, mutton, venison; turkey, duck; plum and other rich puddings; parsnips, French beans; Stilton cheese; pears, plums, figs, olives, mulberries, raspberries, walnuts; stout, port, punch, spirits, liquors (cherry brandy, sloe gin, etc.); coffee. Saturnians.—Moderate eaters and drinkers, with thin, muscular appearance. Indifferent about the time and serving of their frugal fare. Prefer very GASTRONOMICS 149 mild-flavored foods and all kinds of vegetables (sometimes vegetarians). In Excess.—Ascetics. Favorite Dishes and Drinks.—Stewed eels, cod; cold meats; eggs; milk puddings; stewed fruits; all kinds of vegetables, salads; Dutch and cream cheese; medlars ; water, cocoa. Apollo Subjects.—Very moderate eaters and drinkers; can miss a meal with equanimity; content with short menu but tastefully served. Prefer highly- flavored food—game, entrees, savories, and made dishes. In Excess.—Epicureans. Favorite Dishes and Drinks. —Oxtail soup; salmon, mullet; all kinds of entrees and savories; hare, pheasant, partridge, and all small game; rich cakes, biscuits; peas, beetroot; Guyere cheese; peaches, apricots, greengages, oranges, ginger, Brazil nuts; light wines, liquors (e. g., Char¬ treuse). Mercurians.—Moderate but rapid eaters and temperate drinkers, with spare and wiry appearance. Irrit¬ able if kept waiting for their meals, which consist of short menus served without much ceremony. Prefer plain foods, as meat and two vegetables, plenty of bread and plain puddings. In Excess.—Gobblers. ' Favorite Dishes and Drinks.—Fried plaice, smoked 150 PALMISTRY haddock; joints, steaks, chops; roast fowl; plain puddings; bitter vegetables (e. g., spinach, sea- kale, and turnips), Gorgonzola cheese; all kinds of raw fruits, filberts; ale, sherry, claret, and sparkling water. Martians.—Voracious eaters and large drinkers, with rather massive appearance. Ready for a meal at any time, consisting of short but substantial menu. Prefer strong-flavored and pungent foods, served very hot (temperature), and all condiments. In Excess.—Gourmands. Favorite Dishes and Drinks.—Mulligatawny soups; no fresh fish; kippers, bloaters, fish pastes; cur¬ ries and hot savories; all salt meats; pickles; goose; fruit tarts, pastries; brown bread; cab¬ bage, beans carrots, onions, garlic, horse-radish, radishes, mustard and cress, water-cress; Cheddar and American cheeses; chestnuts; beer and spirits. Luna.Subjects.—Variable appetites but large drinkers, with loose, fleshy appearance. No stated time for meals, and not particular how they are served. Prefer liquid foods (soups, purges, stews, etc.). In Excess. —Intemperance. Favorite Dishes and Drinks.—Soups; all kinds of fresh fish, oysters, crab, and lobster; purees; Irish stew; no sweets; marrow, lettuce, cucum¬ ber, mushrooms; water-melon; drinks of all kind?, GASTRONOMICS Venusians.—Small eaters, with correctly-proportioned appearance. Fairly punctual to light menu daintily served. Prefer delicately-flavored foods, sweets (puddings) and bon-bons. In Excess.—Faddy or greedy. Favorite Dishes and Drinks.—White soup; sole; veal, lamb; rabbit, chicken; all kinds of fancy puddings; potatoes, tomatoes, asparagus; Camem- bert cheese; apples, grapes, strawberries; al¬ monds, ciders, champagne, liquors (e. g., Benedictine); tea. ' ■ 'I.- % I HAND OF MRS. STUART 125 years old 154 or SARAH BE^"^dT ha/nd u isb HAND OF KELLAR THE MAGICIAN 156 157 HAND OF CORINNE THE ACTRESS 158 ROMANCE OF THE ZANCIGS To those interested in psychic research no more interesting entertainment could be provided than that given by the Zancigs. Most remarkable of all is the fact that their entertainment is entirely free, but they operate on the expectation of )7our being so well pleased and assured of their scientific ability that you will investigate further as to what they know of the mute but eloquent language of the hand. The size and quality of the crowds that call daily at their Tem¬ ple of Palmistry for readings is sufficient proof of Pro¬ fessor Zancig's wisdom in securing at very large expense the services of his excellent palmists. Here is all the excitement of fortune-telling without any of its fraudulent elements, against which Professor Zancig has so successfully fought all his life. Professor Zancig and wife, in addition to being among the leading palmists of the world, are expo¬ nents and exemplifiers of the most advanced school of Telepathy, a branch of Psychic research which is being received by increased attention from advanced thinkers the world-over; and well it should, for it opens up a world of amazing possibilities and inviting in- 160 ROMANCE OF THE ZANCIGS 161 quiry. The Society for Psychical Research, composed of the most advanced scholars of England, was organ¬ ized for work in this field alone, and the results are of absorbing interest to mankind. It may be interesting to review the lives of these two people and discover by what strange chance they came together under bonds of such sympathetic and delicate intellectual relationship. Their romance is indeed a pretty one. They were born in Copenhagen, Denmark, and attended the same school during child¬ hood's happy, careless days, after which they parted. Like many other young men of European countries, Julius Zancig longed for a wider field of activity; instinc¬ tively his thoughts turned to America, and he decided to try his fortune in that distant land of which he had heard and read so much. If he gave any thought to his little sweetheart of early days, it was but in moments of passing retrospection, tinged oftimes with regret; but life was a serious thing, and his whole energies must be bent to the stern reality of a strange land and people. What was his wonderment on boarding the steamer at Copenhagen to find his sweetheart of other days following out precisely and independently his own line of suggestion and reasoning, except that they were bound for different destinations. Arriving in America, young Zancig remained in New York while his sweetheart went to Waupaca, Wis¬ consin. After having been employed at various occu- 162 PALMISTRY pations for some time, Zancig secured a position as bookkeeper with Mr. George R. Read, with whom he soon became a trusted employe. Judge of his surprise when he learned that his sweetheart of other days was a governess in the Read family. These are but a few of the incidents too numerous to mention, and while they greatly surprised these young people, they did not appraise them at their true worth, and once gain they drifted apart, but only for a short time. While spending a few days' vacation in a country town young Zancig attended an evening gathering of young people, and while standing with a group of acquaintances beneath a rustic arbor he was introduced to a Miss Claus- sen. The darkness was just dense enough to reveal the form, yet conceal the features, but as their hands touched, each instinctively knew that Fate had again brought them together, and, as it proved, this time for good, as they were soon married, since which event neither has ever partaken of a meal with¬ out the companionship of the other. Their strange and remarkable devotion, admirable as such things are in wedded life, has been the cause of much wonder¬ ment by all who are fortunate enough to know them intimately. It began to be noticeable about this time that impres¬ sions from one would be conveyed by some subtle influ¬ ence to the other, and unknowingly each would act upon ROMANCE OF THE ZANCIGS 163 the other's suggestions thus conveyed. In other words, their brains vibrating in unison seemed to be moved by the same psychic force, and they would at such times become wonderfully responsive to each other's emotions. One day, wishing to give her a pleasant surprise, he bought a couple of tickets for a theater performance some days ahead, only to discover that she had acted upon the identical suggestion or impres¬ sion, and had already purchased same. Having in contemplation a little trip, he had been considering the purchase of a certain valise which attracted his attention in passing a certain store window, she, not knowing anything of his desire, and thinking to pleas¬ antly surprise him, purchased the identical valise for him and presented it. Soon after wedding, they began, purely for their own amusement, experiments with their peculiar gifts for thought transmission. Mr. Zancig would fix his mind upon some particular color in the carpet or wall paper to the exclusion of all other objects, and found that by a strong exertion of his will power he could project his thoughts to the mind of his wife. From these simple experiments by years of hard, laborious effort, they have developed their powers until now Madam Zancig can read easily and fluently any card, letter, book or newspaper, or name and describe the form, color and feature of any object seen by her hus¬ band. 164 PALMISTRY Here, then, we have the romance of two lives culminating to-day in the appearance of the actors before us. It is no great wonder that the most cul¬ tured people of all communities greet the Zancigs in large and increasing numbers. Their performance is refined, clean-cut, and precise to a remarkable degree; there is absolutely no room for doubt, trickery or chicanery. It convinces the most skeptical that there are indeed "more things in heaven and earth than are dreamt of in our philosophy.'' Psychic force has been beginning to assert itself in the higher spheres of terrestrial humanity for many centuries past, and its action is to-day but in its dawn. Its province is the ideal exclusively; it borders on the spiritual, and its law is the law of progression. We investigate to-day the unknown of yesterday, and it becomes the truth of to-morrow. The Zancig's Temple of Palmistry To convince those who have not already had proof of the correctness of Palmistry, and show that we do not iudge from the face, send print of your hand, with date, month and year of your birth, 25 cents and self- addressed, stamped envelope. Ask three questions, and we will answer by return mail. For a full life reading enclose $1.00. Instructions for Taking Hand-prints First—Smoke the paper thoroughly over a lamp until it is entirely black, not forgetting to remove the chimney beforehand, and burning the flame high; move rapidly to and fro to keep the paper from burn¬ ing. Second—Place the hand softly down on the black¬ ened paper, remembering to put a towel underneath, to fill in the usual hollow. Take a pencil and draw the outline, but do not move the hand during the operation. Third—Submerge the blackened paper into alcohol or gasoline slowly, the smoked side up, then put to dry. 165 TERMS FOR LESSONS IN PALMISTRY Private lessons $ .50 Lessons by mail .25 Twelve lessons for ....... 2.50 Twenty lessons for 4.00 Forty lessons for 7.00 Sixty lessons for 10.000 Charges for professionals, $50, including books, examination and diploma. Charts, hands, books and all paraphernalia furnished for those opening up parlors of Palmistry for them¬ selves. Positions positively guaranteed all who graduate from our school. ZANCIG DIPLOMA ADDRESS THE ZANCIGS TEMPLE OF PALMISTRY, Room 42, 417 Dearborn Street, CHICAGO INDEX A Abroad, interests and journeys, 80. life, 73. Abruptness, 66. Accidents, 113, 116, 118. generally, 126. preservation from, 117. results of, 113. Accounts, aptitude for, 47. See Business. Acquisitiveness, 23, 42, 67, 136. Action, 14, 27, 47, 61. Actors, 44, 50, 116. Adaptability, 17, 25, 136. See Versatility. Advice to others, 36. Affection, 33, 34, 56, 60, 61, 68, 89. See Attachment, calculation in, 55, 98. constancy in, 29, 34, 57, 59, 93, 143. disappointments in, 26, 92, 100. family, 33, 77, 78. lack of, 25, 127, 143. limited, 105. material, 56. 171 172 INDEX Affection, misfortune and nerves through, 112. power of, 39. trouble in, 26, 105. Aggressiveness, 25, 31, 99, 142, 143. lack of, 25. Agriculture and horticulture, love of, 29, 42, 51, 124, 142. Ambition, 52, 59, 136. checked, 117, 136. Amiability, 19, 61. Anaemia, 72. Analysis, 136. Anchorite, 29. Anger, 19, 20, 21, 36, 137. Angles of the Thumb, 23, 32, 33, 122, 123, 142. Animal painters, 121. See Art. Animals, love of, 30, 44. Anxiety, 25, 29, 39, 97, 142. Apollo-finger, 40, 43, 44, 59, 61, 63, 84. inclination of, 42, 51. knots and lines on, 44, 50, 115. marks under, 59, 69. phalanges, 43, 44, 49, 50, 115. Apollo-line or Fortune-line, 77, 81, 82, 83, 84, 85, 87, 95, 96, 122. and Fate mixed, 84. branches and stars on, 68, 83, 112. broken or double, 83. INDEX 173 Apollo-line or Fortune-line, cross and islands on, 94, 114. depth of and forked, 82, 84. from Influence-line, 83. hollows under, 99. lacking, and lines across, 81, 84, 97. Apollo-mount, 27, 29, 30, 59, 61, 96, 142. branches and lines on, 74, 80, 83, 84, 92, 96. positions of, 30. triangle, circle, and cross on, no, in, 115. Apollo subjects, 142. Apprehension, 25, 29, 39, 96, 142. Arbitrator, 31. Architects, 121. See Art. Argument, 37, 42, 47, 119. See Logic and Reason. Army, the, 118. Arrogance, 39, 41. 4rt, 16, 42, 43, 46, 121, 122, 137, 142. and money, 84. and science or business, 51, 96. black and white, 45, 121. color and form in, 44, 144. failures in, 99. intellectual, and love of, 51. realism in, 42, 49. Artistic ideas and career, 49, 84. Artists, 121, 137. Ascetics, 150. J74 INDEX Associates in work, 90, 97. Astuteness, 53, 142. Attachment broken by death. See Influence-lines, broken by death or illness, 93. duration and dating of, 92, 93. obstacles to, 92. to cousin, 93, 115. Audacity, 66. Avarice, 23, 28, 58, 63, 142. B Bar-lines, 142. Battle-scene painters, 122. See Art. Beautiful, love of the, 30, 44. Benevolence, 119, 137, 142. Biliousness, 86 Birth, 18, 73. mystery at, 74. Black and white art, 44, 121. See Art. Black magic, 96. Blood-poisoning, 109. Bluntness, 50, 106. Bohemianism, 52, 137, 142. Bones, 29, 34. Bracelets, 101, 102, 143. See Rascettes. Brain diseases, 126. Bravery, 118, 138. Broad-mindedness, 141. INDEX *75 Bronchial trouble, 19, 21, 126. Brutality, 36. Buoyancy, 31, 143. Business ability, 25, 30, 47, 49, 50, 64, 67, 85, 124. career, 70. difficulties, 97. diplomatic, no. C Calculation, 38, 55, 63, 64, 69, 138, 143. in love, 55, 97. lack of, 23, 42, 67, 68, 73, 118. Callousness, 42. Capacity, 39, 45, 46, 143. See Incapacity, improved and unused, 103. lack of, and mental, 59, 63. Caprice, 138, 143. Career, 61, 75, 76, 96. See Fate-line, double or artistic, 63, 84, 96. help in, 78. spoilt by enemies, 97. spoilt by subject, 103. successful or uncertain, 80. trouble in, 26, 106. Carefulness, 20, 81, 82. Carelessness, 23, 82. Caution, and lack of, 42, 49. See Rashness, Cephalic or Via Lasciva-line, 88 176 INDEX Ceremonies, 116. Chains, 143. Changes, 75. dating of, 133. in career, or averted, 78, 80, 117. in environment and of residence, 71, 116. in position or family, 114, 115. in social position or disposition, 95, 105. of improvement, or sudden, 80, 95, 117. Character, development of, 65, 72, 75, 131. good, 50, 72, 92, 131. unbalanced, 38, 67. Characteristics of the types, 48. Cheerfulness, 31, 143. "Cheiro," 21, 26, 64, 99, 101, 110. Chest, 19, 21, 69, 125, 126. Children, love of, 31. Chills, 127. Chirologists. See Palmists. Church, The, 22, 39, 40, 68, 119, 120, 138, Circle, The, 107, 109, in, 143. Circles, concentric, 67. Circulation, The, 18. Circumstances, adverse, 105. See Career, drifting with, 78. force of, 41, 65. independence of, 52. Classes of hands, 13, 14, 48, 49. INDEX 177 Coldness, 25, 127, 143. Colossal works, 15, 16, 24, 43, 124. Color in Art, 44. See Aft. CombatiVeness, and lack of, 25, 32, 99, 142, 143. Comfort, 39. personal, 64. Commercial ability, 25, 31, 49, 50, 64, 68, 81, 86, 99, 110, 124. Commonsense, 26, 38, 64. See Practicability. Composers, musical, 30, 122. Conceit, 143. simulated, 67. Concentration, 63, 67, 124, 132, 138, 143. Concentric circles, 67. Confidence, self, 28, 38, 67. Conic type, 16, 24, 60, 118, 119, 120, 143. Constancy, 29, 34, 58, 60, 63, 94, 143. lack of, 59. Constitution, 72, 85, 102. Constructive ability, 50. Consumption, 125. Contradiction, 16. Control, self, 17, 59, 65, 88, 112, 124, 143. self, lack of, 28, 36, 37. Controversy, 119. Conventionality, 17, 51, 138, 143. lack of, 51, 138, 143. Conviction, 120. 178 INDEX Courage, 118, 138, 144. Courtesy, 138. Craft in politics, 96, 138, 143. Criticism, 16, 19, 22, 124, 143. Critics, 19, 123. "Croix mystique," 40, 143. Cross, St. Andrew's, 40, 125. Cross, The, 88, 107, 109, 114, 115, 143. Cunning, 45, 112, 138, 143. Curiosity, 17, 112, 143. Curious markings, 107, 108, no, in, 112, 113, 114, 115, 116, 117. D Danger from water, 97, hi, 113, 118. personal, 113, 115. preservation from, and warning of, 69, 112, 117. serious and sudden, 114, 117. to head and from wounds, 68, no, 115. D'Arpentigny, 34. Dash, 23, 33, 73, 118. Deafness, 1x0, 126. Death, early, 72. possible, 103. violent or sudden, 67, 68, 111. Debt, 37, 82. Deception, 46, 50, 53, 69, 138. INDEX 179 Decision, and want of, 35, 36, 67, 139. Definitions, table of, 142, 143, 144, 145, 146. Delicacy, 25, 72. from sorrow, no. internal, 102. Depression, 29. Desbarrolles, 48, 60, 61, 66, 89, 101. Despotism, 25, 36, 38, 112. Detail, 15, 16, 20, 24, 25, 63, 143. See Minutiae. Determination, 62. See Decision. Development, mental and physical, 65, 131. Diffidence, 67. "Digitus medius," 29. Diplomacy, 83, 143. craft in, 96, 138, 144. lack of, and social, 49, 106, no. Diplomatic service, 119. Disappointment in affections, 26, 92, 100. in career and life, 26, 60, 61, 105, 106. Discipline, subordination, 118. Discontent,»111. Disease, 20, 43, 50, 57, 58, 59, 85, 86, 121, 125, 126, See Health. Ill-health and Illness, brain and heart, 59, 69, 114, T26. hereditary, 74, 126. of the eye, 69, 74, 111, 126. Dishonesty, 45. Disillusion, 56, 61, 92. i8o INDEX Disorder, mental and material, 22, 140. Dispensing-lines, 96, 120. See Doctors. Display, love of, 51. Disposition, changes in, 105. weak or cold, 38, 127. Distinction, social, 80. Divorce, 93. Doctors, 120, 121. See Dispensing-lines,. Dogmatism, 119. Domesticity, 16, 22. Dominant finger, 144. Doubt, 40, 120. Drama, 44, 50, 123, 137. Drawing, correct, 44, 144. Dreaminess and dreams, 32, 67. Dress, love of, 37. Drinking, 50, 98, 151. Drowning, 119. See Danger. Drug-line, 88. E Ear trouble, 110, 126. Ease, love of, 25. Eating, love of, 50. Eccentricity, 67, 139. Economy, 20, 64, 81, 82, 139. Ecstasy, 40. Effeminacy, 22. INDEX 181 Egotism, 20, 25, 57, 63, 64, 105, hi, 127, 139. Eloquence, 46, 47, 50, 119, 139. See Speakers. Emotions, 33, 38, 57, 69, 73, 89, 124, 139, 144. See Love and Passion, seat of the, 89. Encouragement, need of, 67. Endurance, 32, 43, 144. Enemies, 114, 139. affecting career and money, 97. affecting health, 97. relatives, 97. Energy, 14, 26, 27, 32, 38, 61, 62, 109, 138, 144. Engagement broken by death, 94. broken through illness, 94. Enmity, 139. See Enemies. Enterprise, 25. Enthusiasm, 68, 120. Environments, change of, 71. Epicureans, 150. Events, dating of past and future, 133. special, 111. Exile, 73, 103. Expenditure, careful, 20, 81, 82. reckless, 37, 82. Extravagance, 16, 37, 38, 102, 115, 149. personal, 164 Eye, diseases of the, 69, 74, in, 126, injury to or loss of an, 69, 74, 109, 111. 182 INDEX F Faculties and gifts, unusual, 62, 110. Faculty, The, 120, 121. See Doctors. Faddiness, 151. Faith, 119. loss of, and restored, 57. Faithful love, 58, 115. See Constancy. Faithfulness, 29, 34, 58, 60, 94, 115, 143. Faithlessness, 59. Family affection or influences, 33, 72, 77, 78, 97. enemies, 97. misfortunes or changes, 95, 115. Fastidiousness, 50. Fatalism, 42, 75, 139, 144. Fate-line, or Saturn-line, 75, 76, 77, 78, 79, 80, 87, 122. and Apollo mixed, 83. barred, 61, 94, 97. breaks on and branches from, 71, 76, 79, 95. change through affections, 80, 89. cross on, 87, 115. directions of, 80. doubled and grooved, 80. hollows under, 26, 100. islands on, 79, 113, 114. or Saturnian, 43, 94. rise of, 65, 74. secondary or missing, 61, 78. sister and parallel lines to, 78, 8q. INDEX 183 Fate-line, or Saturn-line, stars and squares on, 113. time on the, 132. Feebleness, physical, 72. Feelings, 33. See Emotions. Fever, 22, 74, 109, 125, 126. Fidelity in love, 58, 115. Fighting power, 25, 32, 100, 142, 143. Finesse, 46, 69. Finger of Apollo. See Apollo-finger, of Jupiter. See Jupiter-finger, of Mercury. See Mercury-finger, of Saturn. See Saturn-finger. Fingers, 12, 13, 14, 15, 16, 17, 18, 20, 48, 49, 50, 51, 53. and palm equal, 24, 124. apart, 33, 38, 51, 81, 119, 120. crooked, 16, 41, 47, 50. inclination of, and dominant, 51, 144. knotted, 22, 23, 29, 119, 120, 121, 12^. long, 15, 16, 19, 25, 44, 63, 67, hi, 118, 121, 122. measurement and placing,' 15, 46, 49. short and medium, 15, 16, 24, 25. smooth, 40, 42, 119, 120, 122. stiff and supple, 51, 118, 121, 124. thick and straight, 16, 24, 50. tips, 17,18, 21, 24, 39, 121, 122. Fire, danger from, 113. Paris, 113. 184 INDEX Flattery, need of, 67. Flirtation, 58. Flower-painting, 122. See Art. Flowers, cultivation of, 123. See Horticulture. love of, 50. Fluency, 46, 119, 138. Foolhardiness, 43, 73. Foolishness, 59, 67, 139. Fools, 59, 67. Force, vitality, 21, 26, 32, 98. Foresight, 32, 61, 63, 81. Form in Art, 44, 144. Fortune at end of life, or good, 102, 144. by inheritance, 53, 82, 102, no, 116. See Money, line. See Apollo-line. French, The, 60. Friendship, or loss of, 55, 60, 139. See Affection. Frith, 18. Frivolity, 29, 42, 49. Fussiness, 22, 23, 47. G Gain, desire for, 44, 68. See Money. Gambling and speculation, 43, 83. Gastronomies, 149, 150, 151. Gaucherie, 29. Generosity, 38, 51, 81. lack of, 17, 20, 38, 81, 82. INDEX 185 Gentleness, 19, 61. Gifts and faculties special, 62, 110. Girdle of Venus, 60, 61, 92. Glory and Success, hi. Gobblers, 150. Good-nature, 19, 61. Gourmand, 151. Gout, 15, 21. Gratitude, 139. Gravity, 42. Greediness, 50, 151. Grief, 55, 60, 92, 97, 105, 110. Grille, 107, 108, no, 112, 113, 144. connections of, in. H Hair-lines, 107, 108, 115, 144. Half-moons, 18. Hands, 12, 13, 14, 15, 23, 24, 25, 26, 53, 118, 119, 120, 121, 122, 123. clever or bad, 46, 67, 72, 103, 120. hard, 58, 64, 89, 118, 125. impressionable, 128. large, 26, 121, 122. left or right, 58, 91, 105. lined or unlined, 105, 127. long or small, 26, 119, 121, 122, 123. memory on, 16, 128, 133, 134. INDEX Hands, passive or trembling, 23. position of the, 23. soft, 38, 59, 64, 89, 122, 123. time on the, 70, 128. variations in, 104, 105, 106, 132. Happiness, 34, 94, 102. See Love. Hardships, 50, 65. Harmony, 122. See Music. Hate, 19, 20, 37, 58. Head, 38. dangers or wounds to, 68, 88, no, 116. Head-line, 27, 28, 32, 33, 58, 63, 64, 65, 66, 67, 69, 71, 86, 88. and Fate-line, 79, 80. and Heart-line joined, 54, 60, 126. and Life-line joined, 72, 77, 133. arched, and breaks on, 126. barred, 55, 64, 94, 97, 106. branches on, or chained, 65, 68, 69. circles or cross on, hi, 116. doubled and forked, 46, 63, 69, 106, no. good, 15, 16, 37, 59, 118, 12x, 122, 123. islands on, 69, 115, 125, 126. long, 63, 67. sloping, 67, 83, 105. spots and dots on, no, 113, X26. squares and stars on, 69, 73, 74, 117. straight, 42, 63, 64, 81, 105, 124. INDEX 187 Head-line, time on the, 131. variation in 105. Health-line, 73, 85, 86, 88. See Hepatica. Health, 20, 21, 26, 72, 85, 86, 88, 98, 100, 102, 104, 105, 127. See Disease, Ill-health, and Illness, career and money, 87. bad, of eyes, 69, 74, in, 126. bad, through the affections, 113. dangers to averted, no. delicate, 53, 65. good, 87, 92, 102, 125, 127. injured by enemies, 97. in middle life and old age, 87, 116. precautions about, 73. travel for, 105. warning about, 86. Heart, 18, 20, 21, 54. diseases, 59, 115, 126. palpitating and nervous, 58, 69. Heart-line, 27, 28, 29, 30, 32, 40, 54, 55, 56, 58, 59 60, 79, 92. and Head-line joined, 54, 60, 126. barred, 55, 56, 94, 95, 97. branches, drooping, rising, etc., 55, 60, 105. broken or chained, 55, 56, 57, 58, 126. color of, 55, 56. fine lines on, 125. INDEX Heart-line, good or forked, 36, 54, 58, 63. hollows under, 26, 100. short or long, 17, 42, 57, 59, 65, 120 spots or islands on, 110, 115. variations in, 105. Hepatica, 71, 73, 85, 86, 87, 88. absence of, 85. and Intuition-line mixed, 87. broken or barred, 98. color of, 85, 86. islands on, 88, 115, 126. lines across or grooved, 85, 86, 88. star or cross on, 73, 87, 88. Hereditary disease, 74, 115, 126. tendencies or weakness, 71, 88. Heredity, 21, 46. Heroism, 118, 138, 139, 144. Heron-Allen, 23, 46, 73, 86, 102, no. Hobbies, 80. Honesty, 139. Honor, 31, 102, no, 144. lack of, 37, 41, 60, 65, 67. Horse, hoof of, and the finger joints, 29. Horticulture and Agriculture, 29, 42, 50, 124, 142. Housewife, 47. Hypnotic power, 32. Hypocrisy, 50, 53, 69, 138. Hysteria, 16, 25, 50. INDEX 189 I Ideality, 14, 48, 49, 60, 61, 105, 144. Ideas, artistic, 43, 49. changeable and limited, 63. Idleness, 23, 25, 27, 65, 139. Ignorance, 59, 139. Ill-health, 69, 71, 72, 85, 95, 105. See Disease and Illness. Illness, 16, 59, 70, 71, 74, 88, 109, 114, 115. coming and past, 86. fevers, 21, 74, 109, 125, 126. hereditary, 74, 115, 126. lengthy or internal, 88, 126. nervous, 69, 110, 115, 125. of eyes and ears, 69, 74, no, 111, 126. preservation from, 117. prevention of, 126. Imagination, 64, 105, 119. excess, 67, 116. morbid and practical, 32, in. Imitation, 414. Immorality, 60. Impatience, 16, 17, 25, 36. Impetuosity, 23/43, 73, 118. Implacability, 19, 20, 58. Impracticability, 32, 67, 144. See Practicability. Impressionability, and lack of, 22, 25, 31, 89, 144 Impulse, 22, 36, 139. INDEX Incapacity", 59. See Capacity. Inconstancy, 59. See Constancy. Independence, 17, 38, 51. checked, 105. lack of, 77, 78. of action and thought, 51, 65. Indifference, simulated, 67. Indigestion, 86. Individuality, 75. Indolence, 23, 27, 65, 139. physical and mental, 25. Infection, 127. Influence-lines, 61, 89, 90, 91, 92, 93. See Percussion- line. barred or curved, 92, 93, 117. dating of, 90. islands or spots on, 92, 93, 110, 114, 115. unhappy or good, 91, 93. Venus, 72, 84, 98, 91, 92, 93, 94, 95, 96, 97, Influence of parents, 72, 97. on career, 77, 78. Influences, 75, 76, 77, 78, 79, 115, 144. duration or death of, 92, 93. family, 33, 65, 77, 78, 80, 97. material or outside, 57, 80. of the opposite sex or cousins, 61, 115. or interests, double, 92, 115. separation from, 1x7. INDEX Influences, trouble through, 26, 113. Influenza, 109, 126. Inheritance, 53, 82, 102, 110, 116. Injury to eyes, head, and limbs, 69, 74, 109. Inquisitiveness, 17, 111, 143^ - Insensibility, 22, 25, 31. Inspiration, and lack of, 22, 46. Instrumentalist, string or key, 122. Intellect and intellectuality, 14, 25, 48, 63. Sae Head¬ line. Intemperance, 63, 80, 115. Intuition, 22, 40, 85, 144. Intuition-line, 31, 32, 98, 116. and Hepatica mixed, 87, 98. Invention, 144. Investigation—research, 22, 25, 29, 122, 144. Irritability, 20, 21, 22. nervous, 127. Islands, 88, 107, 108, in, 114, 115, 126, 144. J Jaundice, 20, 86, 125. Jealousy, 55. John Bull, 57. Joking, 31. Journe}r, danger on, 117. See Danger, Judgment, 67, 144. bad, 79, 80, 91, 105, 114, 116. 192 INDEX Jupiter-finger, 39, 40, 41, 46, 49, 60, 118, 119, 121, 144 and thumb, 37. inclination of, 42, 51. knots on, 22, 40, 120. lines on, 53. marks under, 61, 69, 110. nail on, 19. phalanges of, 40, 48, 49, 50, 52, 114, 117, 120. Jupiterians, 149. Jupiter-mounts, 17, 27, 28, 29, 31, 54, 95, 144. absence of, and positions of, 28. cross and islands on, 116, 126. grille and stars on, in, 112. high, 37, 40, 64, 67, 68, 119, 121. lines on. 57, 6o, 63, 70, 80, 95, 103, no. Justice, 139. K Knots (finger-joints), 15, 32, 116, 145. See Fingers Knotted. Apollo-finger, 13. first, second, and third, 22, 23, 122. Jupiter-finger, 22, 40, 120. Saturn-finger, 40, 42. smooth, 15. I* Land, desire for, 50. Landscape, 121. See Art. INDEX i93 Lawyers and Law, 121. Laziness, 23, 25, 27, 65, 139. Lecturers, 46, 47, 119, 138. Leniency, 25. Level-headedness, 64. Life, change in the, 71, 72, 76. danger to, averted, no. end of, 95. family, 77. laborious, 102. length of, and love of, 73, 102. living two lives, 80. mental, 25, 104, 121, 132. monotonous, 29, 41, 76, 78, 128. probabilities of, 76. unhappy and eventful, 113. Life-line, 27, 28, 33, 70, 71, 72, 73, 74, 80, 82, 86, 87, 97, 98, io3- and Fate-lines joined, 78. and Head-lines joined and apart, 60, 65, 67, 77, 133- barred, 87, 94, 117. branches from, 90, 95. broken, 70, 71, 72, 73, 98, 105, no, 119, chained and long, 88, 98, 126. circles and cross on, 74, in, 125, 126. color of and hollows under, 26, 72, 100. dots and stars on, 109, 113. *'94 INDEX Life-line, drooping branches from, 91, 110. islands on, 74, 114, 126. squares on, 72, 110, 117, 119, 125. time on, 70, 132. Limbs, accidents to, 126. Owen on the nature of, 28. Lines, 26, 145. See Apollo, Fate, Head, Heart, Hepatica, and Life lines, appearing and disappearing, 109, 115. bar and hair, 107, 108, 115, 117, 144. branches on, 55, 56, 68. dating of Venus, 113. See Influence-lines, drink and drug, 88. enmity, 96, 115, 139. from rascettes and to Jupiter, 103. growing and crossing, 109, 114. healthy and wide, 125. hollow under and grilles on, 25, 26, 100, hi. Luna and transverse, 53, 92, 114. See Influ¬ ence-lines, many and few, 25, 122, 125. Mars, nursing, and medicine, 98, 120. on phalanges, 53. red and yellow, 86, 125. sister and capillary, 72, 73, 114. squares and islands on, vague, 97, 115. tendencies and facts on, 75. theory of a variation in, 89, 104, 105, 106, INDEX i95 Literature, 16, 47, 110, 122. Liver complaint, 57, 115. Logic, 34, 39, 119, 140, 145. See Argument and Reason. Longevity, 71, 98. Loquacity, 23, 67. Loss through ignorance, 114. through treachery and theft, 115, 116. Lottery, prize, 83. Love, 55, 58, 139. See Affection, calculation in, 55, 97. controlled, 61. of animals, 31, 44. of beautiful and ornamental, 31, 43. of children, 31. of dress, 37. of flowers and art, 50, 122. of luxury, 16, 25, 37, 39, 44. of one only, 58, 116. of opposite sex, 31. of smoking, 50. of soil, land, 50. of solitude, 29. platonic and emotional, 139. Loved ones, shocks to, no. Lovers, unworthy, 57. Luna-mount, 27, 28, 31, 32, 33, 40, 41, 97, 118, 119, 122, 145. absence of, 32. 196 INDEX Luna-mount, circle and grille on, 111. high, 44, 110, 118, 120, 121, 122, 123. island and cross on, 115 116. lines on, 63, 67, 73, 77, 79, 80, 82, 86, 88, 89, 92, 97, 98, 105. positions of, 32, 62. stars and squares on, 114, 117. Luna subjects, 151. Lung diseases, 19, 21, 69, 125, 126. Luxury, love of, 16, 25, 37, 49, 44. Lying, 46, 5°, 53, 69, 138. M Malarial fever, 74, 109. Management, 16. Manual work, 16, 25, 102. Marks, curious, 57, 107, 108, 109, no, 111, 112, 113, 115, 116, 117. Marriage, 89, 90, 91, 92, 93. early, 77. ill-assorted, 60. money through, 73. on Fate-line, 94. relatives by, 91. Marriage-lines, curved and barred, 92, 93, 117. islands and spots on, 93, 94, 115. on percussion, 61, 92, 93, Mars and Mercury percussion, 32, 57. INDEX 197 Mars-mount, 27, 31, 32, 63, 98, 120, 145. circle and dot on, 88. grille and cross on, in, 116. lines on, 65, 84, 96, 115. low and high, 25, 44, 67, 118, 119, 122. triangle and stars on, no, 114. Mars, percussion of, 32, 57, 63, 65. * plain of, 25, 32, 33, 100, 118. high, 32, 73, 100, 118. hollow, 32, 100. lines on, 80, 82, 98. Martians, 150. Martyrs, 68, 120. Materiality, 14, 22, 24, 48. Maternal, 72. Mathematics, 42. Matrimonial troubles, 94. Meanness, 17, 20, 38, 81, 82. Measurement of hands and fingers, 15. Mechanics, 47. Medicine, 96, 120, 121. Mediums, no. See Mysticism and Occult Powers. Medius digitus, 28. Melancholy, 29, 50, 51, 139. See Morbidity. Melody in music, 33, 122. Memory, 16, 128, 133, 134. Mentality—intellect, 14, 25, 48, 50, 63, 104, 114, 121, 132. 198 INDEX Mercurians, 131, 150. Mercury and Mars, percussion of, 32, 57. Mercury-finger, 31, 32, 44, 45, 46, 61, no, 118, 122, 145. inclination of, 51. lines on, 53. long,; 16, 19, 39, 119, 121, 124. marks under, 59, 92. phalanges, 46, 47, 48, 49, 50, 53, 114. Mercury-mount, 27, 31, 54, 59, 96, 145. absence and positions of, 20, 31. t grille and cross on, in, 126. high, 29, 4i, 43, 44, 64, 119, 124. squared, 31, 124. Mercury percussion, 92. Method, 139. Miniaturists, 121. Mining and mineralogy, 29, 53. Minutiae, 15, 25, 26, 42, 118, 124. See Detail. in art, 43. Misfortune, 53, 59, 95, in, 116. Money, 16, 53, 77, 80, 81, 85, 95. See Fortune, and art, 83. anxiety and trouble about, 82, 116. desire for, 44, 68. extra, 83. from inheritance, 53, 82, 102, no, 116. from relatives, 92. from two sources, 84. INDEX 199 Money, from various and uncertain sources, 83. loss of, by theft and enemies, 96, 97. loss of, late in life, 96. ' loss of, through relatives, 84, 92, 96. losses, 84, 92, 96, 97, 113, 115. through effort, 82. through influenced friendship, 82, 83. Monotony in life, 41, 76, 78, 128. Moons, half, 18. Morbidity, and lack of, 29, 51, 61, 145. See Melan¬ choly, in art, 42. Mounts, the, 26, 27, 28, 29, 30, 31, 32, 54, 59,^ 100, 711, 145. See Apollo, Jupiter, Luna, Mars, Saturn, and Venus Mounts, lines on the, 95, 96, 97, 98. qualities of the, 111. Murderer, 36. Music, 23, 31, 34, i2 2. Mysticism, 40, 98, 145. See Occult Powers. Mystique, croix, 40. N Nails, 18, 19, 20, 21, 22, 48, 58, 124, 125. Narrow-mindedness, 37, 58, 140. Navy, 118. Necessity, power of, 65. Nervous affections,20, 22, 69, 98, 109, 110, 125. 200 INDEX Nervous affections, irritability, 127. prostration, 20, 26, 115. subjects, 23. temperament, 60. Neuralgia, 98. Notoriety, 113. Nurse, the, 96. O Observation, 17, 40, 49, 63, 124, 140, 145. Obstacles, sudden, 117. Obstinacy, 20, 36, 118. Occult powers, 31, 32, 40, 42, 60, 62, 88, 98, 110, 116, 140, 145. Occultism, wish for, 116. Officers, 1x8. Old age, 87, 132. age, health in, 116. age, loss of money in, 96. Opportunities, missed, 47. wasted, 103. Opportunity, 25, 38, 41, 75, 76. Opposite sex, love of, 31. Opposition, 36. Optimism, 62. Orators, 46, 47, 119, 138. Order, 22, 140. Organization, 16, 40. INDEX 201 Originality, 32, 145. Ornamental, love of the, 31, 43. Overwork, 20, 26. Owen, Professor, 28. P Pain, dread of, 97. Painting, 16, 42, 43, 46, 121, 122, 137, 142. Palm, 14, 15, 16, 24, 25, 26, 76. * color and consistency of, 26, 127. hard, 25, 33, 119. high or hollow, 25, 100. long and narrow, 25. square, 25, 26, 34, 120. thick and soft, 24, 25, 127. time on the, 132. Palmistry, 101, 104. Palmists, 13, 18, 20, 21, 22, 34, 39, 44, 61, 69, 70, 85, 109, hi, 125, 128, 131. Indian, 18. names of, 19, 22, 23, 25, 28, 46, 48, 60, 63, 67, 73, 86, 89, 100, 101, 102, no, 115, 118. Palpitations, 58, Papillary ridges, 115. Paralysis, 21. Parents' influence, 97. Partisans, 58. Passion, 32, 58, 88. See Emotions. 202 INDEX Paternal, 72. Perception, 17,' 40, 49, 63, 124, 140, 145. bluntness, 22, 39, 49. Percussion of the hand, 27, 31, 145. of Mercury, 32, 54, 57. of Mars, 32, 57, 63, 65. Percussion-line of Mercury and Venus Girdle, 61. Perfection, desire for, 44. Perspicacity, 47. Pets, love of, 44. Phalanges, 13, 14, 16, 17, 18, 19, 34, 48, 49, 50, 53, 145. division and table of, 48, 49. See Fingers and Thumb. first, 17, 18, 39, 48, 49, 50, 110, 120. lines and stars on 53, 114. \ relative proportion of, 50. second, 42, 48, 50. third, 16, 48, 50. Philosophy, 29, 31, 47, 120. Physicians, 96, 120, 121. Plain of Mars, 25, 32, 33, 100, 118. Plans, 38, 117. Platonic love, 139. See Love. Pleasures, 31, 39, 50. Poets and Poetry, 124. Pose, 31, hi, 145- Position, 23, 80, 100, 103, no, 115. Poverty, 81. INDEX 203 Power and position, 103. love of, 39. Practicability, 16, 25, 64, 105, 140. See Imprac¬ ticability. Preachers, 119. See Teachers. Precocity, 67, 73. - Predecessors, following, 77. Presentiment, 145. Pride, 28, 42, 140. family, 28, 140. lack of 23. morbid and reasonable, 19, 29, 40, 51. Professions, 1x8, 119, 120, 121, 122, 123. Promotion, military, no. Prudence, 42, 49, 140. Psychic type, 12, 13, 60. power, 40, 88. See Occult. Punctuality, 23, 34. Q Quadrangle, 58, 114, 145. stars and cross on, 114, 116. qualities, cultivation of, 46. table of, 136. Quarrelsomeness, 25. R Races, types of, 13, 14, 21. Rascettes or Restreintes, 15. 24, 27, 32, 40, 62, 65, 76, 77, 101, 102, no, 145. 204 INDEX Rascettes or Restreintes, color of, and lines on, 102. chained, 102. cross in angle of, 102, 116. lines and branches from, 97, 103. upper and lower, 102. Rashness, 23, 43, 67, 73, 118. Reading, love of, 49. of hands, rules for, 134. Realism in art, 42, 49. Reason, 44, 39, 119, 140, 145. See Argument and Logic. Refinement, 127. Relatives by birth, 91. dislike to, 39. malignant, 97. Religion, 22, 39, 40, 68, 119, 120, 138, 140. Research—investigation, 22, 25, 29, 122, 144. Reserve, and lack of, 23, 67. Responsibility, 40, 75, 77, 79. Restlessness, 14, 27, 47, 61. Restreintes, 101, 102, 145. See Rascettes. Revenge, 19, 20, 37, 58. Reverence, 140. Rheumatism, 21, 43, 125, 126. Ring of Saturn, 57, 61, 145. of Solomon, 60, 116, 148. of Venus, 60, 61, 92, 148. Ritual, 119. INDEX 205 Romance, tendency to, 105. Roughing- it, 50, 65. Rule, 39, 40, 46, 50. s Sadness, 29. See Melancholy. Sailors, 118. St. Andrew's Cross, 40, 125. Sarcasm, 19. Saturn-finger, 39, 40, 41, 42, 61, 63, 76, 124, 126, 148. and phalanges, 42, 48, 49, 50, 124. inclination of, 42, 51. lines on, 53. marks under, 69. Saturnian, 149. Saturnian-line, 43, 94. See Fate-line. Saturnine, 29. Saturn-mount, 27, 28, 31, 33, 57, 61, 121, 122, 148. absence and positions of, 29. cross on, 116. grille and islands on, 111, 115. lines and islands on, 59, 68, 80, 95. star and triangle on, 95, no. Saturn, Ring of, 57, 61, 145. Saunders' book, in. Scandal, 97, 115. Schemes, large, 15, 16, 24, 124. 206 INDEX Science and art, 51, 96. aptitude for, 96, no. exact, 42. medical, 96. Sculptors, 43, 121, 122, 137. Secretiveness, 23. Self-consciousness, 28, 148. Self-control, 17, 60, 65, 88, 113, 124, 143. lack of, 28, 36, 37. Self-distrust, 67. Self-esteem, 20, 41. Selfishness, 20, 25, 57, 63, 64, 105, in, 127, 138. Self-pleasing, 50. Self-reliance, 28, 38, 67. Self-respect, and lack of, 28, 40. Sensitiveness, 16, 17, 19, 22, 67, 127. Sensuousness, 28, 33, 57, 72, 88, 103, 148. Shocks, 69, 113, 126. Shyness, 29, 50. Sickness, past and coming, 86. Signs agreeing, 104. differing, 104, 121. unfavorable, 115. Skin, the, 126, 127. damp or dry, 125, 126. healthy or mottled, 125, 127. yellow, white, or satin, 25, 125, 127. Smoking, love of, 50. INDEX 207 Sociability, 28, 140. Soil, love of, 50. See Agriculture. Soldiers, 118. Solicitors, 121. Solitude, love of, 29. Solomon, Ring of, 60, 116, 148. Somnambulism, 88. Sorrow, 55, 60, 97. See Attachment, in affections, 92, 105. severe, no. Sparks, Mr. J., 118. Spatula, 13. Spatulate type, 15, 24, 26, 118, 119, 148. Speakers, 46, 47, 119, 148. See Talkers. Specialists (doctors), 121. Speculation and gambling, 43, 83. Speech, defective, 46. See Speakers. Spinal affection, 20. Spirits, variability of, 31. Sport, 44. Spots, 107, 108, 109, no, 148. color of, 109. blue, 125, 126. on the nails, 20. red, 59, 74, no- Squares, 59, 107, 108, 109, 114, 117, 126. Square type, 16, 24, 118, 119, 122, 148. Stage, 44, 49, 124, 137. 2o8 INDEX Stars, 69, 74, 102, 107, 108, 109, 113, 126, 148. Sterility, 73. Stolidity, 148. Stretch of fingers and thumb, 38, 81. Stubbornness, 20, 36, 118. Stupidity, 59, 67, 139. Subject, 148. Submission, 25, 100, 118, 120. Substitution, 41. Success, 43, 44, 46, 53, 6l, 76, 7^, 122, and glory, hi. by inheritance, 82. lack of, 46, 61, 84. political and social, 114. through trouble, 114. ultimate, 116. without money, 116. Suicide, 43. Sullenness, 20, 36, 118. Sunstroke, 126. Superstition, 50, in, 148. Superstitious sadness, 29, 51, 61, 145. See Melan choly. Surgeons and surgery, 120. Susceptibility, and lack of, 22, 25, 31, 89, 144. Suspicion, and lack of, 42, 49. Sycophancy, 40. Sympathy, and lack of, 32, 33, 119, 120. INDEX 209 T ract, 17, 46, 49, 140, 148. lack of, 40, 49. Talents, use and waste of, 47. See Capacity. Talkers, 23, 67. See Speakers. Teachers, 47. See Preachers. Teeth, affections of the, 43. Temper, 19, 20, 21, 36, 37, 136. irritability of, 20, 21, 22, 127. Temperament, nervous. 60. Tenacity, 36, 38. Theft, 53, hi. Theories, 91. Thieves, 53, in. Thought, independence of, 41, 51. Throat delicacy, 69, 126. Thumb, 14, 19, 34, 35, 36, 37, 38, 44, 89, 90, 113. angles, 23, 33, 34, 122, 123, 142. good, 15, 24, 39, 40, 46, 67, 118, 122. long, 23, 32, 43, 120, 124. metacarpal, 34. short and weak, 42, 59, 68. straight and large, 17, 20, 41. Thumb-phalanges, first, 34, 35, 36, 59, 73. second and third, 31, 35, 36, 37, 39, 41, 47 119, 121. Time on the hand, 23, 34, 92, 117, 128, 131, 132, 133 spacing, 13, 31. 2IO INDEX Time on the hand, limit of, 70. Timidity, 140. Tittle-tattle, 97, 115. Touch, 17. Travel, 97, 105, 118. Triangle, 95, 96, 97, 98, 107, 108, 109, 110, 148. Trickery, 46, 53, 69, 138. Trouble, 64, 95, 106. domestic and family, 26, 100, 113. in career, 26. lines, 94. through treachery, 115. to parents, 114. Truth, 22. Types, 13, 14, 15, 48, 49, 89, 148. conic, 13, 15, 60, 118, 119, 120, 122. pointed, 13, 14. psychic, 13, 19, 60, 120. spatulate, 13, 16, 24, 118, 119. square, 16, 25, 42, 49 1x8, 119, 120, 122, 124. Typhoid fever, 74, 109, 125. Tyranny, 25, 36, 38, 111. U Uncontrolled, 28, 36, 37. See Self-control. Unconventionally, 51, 137, 142. See Conventionality. Unforgiving, 19, 20, 37, 58. Unhappiness, 60, 61. with family, 113. See Trouble and Sorrow. INDEX 2 11 Unscrupulousness, 60, 65, 68. Unsympathetic, 32, 33. See Sympathy. Usefulness, 24. V Vanity, 23, 28, 37, 51, 141, 148. Vegetable existence, 29, 41, 76, 78, 128. Venus, Girdle of, 60, 61, 92, 148. Girdle of, and Mercury-line, 61. Influence-lines, 72, 73. See Influence-lines. Venus-mount, 27, 28, 31, 32, 33, 34, 63, 65, 70, 97, 148. absence of, 33. high, 42, 58, 119, no, 121, 122. lines on, 72, 84, 89, 91, 92, 93, 94, 95, 96, 97. star and cross on, 113, 116. time and cross on, 132. Venusians, 151. Versatility, 17, 38, 63. See Adaptability. Via Lasciva or Cephalic-line, 88. Violinists, 122. Visionary nature, 32, 67. Vitality, 21, 27, 32, 98. Voyages, 97, 105, 118. long, 98, 103. W Water, danger from, 97, ux, 113, 118. Wealth, desire for, 44, 68. 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Elegantly bound in Handsome paper covers, printed in three colors. 25 cts. Red silk cloth, back and sides stamped in gold 50 cts. By W. Jerome Harrison, F. G. S. This book is in¬ tended strictly as an introduction to the science of which it treats. Theories may and do frequently change, but the facts of nature, upon which they are founded are immutable. So we should study the facts and the theories will adjust themselves. Care ha^ been taken to describe mostly such experiments as any student may perform at home, with but little expenditure of money. Fully illustrated. Elegantly bound in red silk cloth. Price 50 cts. By W. Jerome Harrison, F. G. S. Specially adapted to the requirements of the new code.' Each and every chapter of this book has been given as an object lesson many times to clas¬ ses of children averaging sixty in number, and of the ages of ten to sixteen. It will be seen therefore that the experiments are simple and inexpensive and can be performed at home. 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