Taking

When looked at from the vertical or top view, the proportion of breadth to length is seen as in Fig. 9. the diameter from back to front as 100, the cross diameter gives the so-called index of breadth, which is here about 70 in the Negro (a), 80 in the European (b), and 85 in the Samoyed (c). Such skulls are classed respectively as dolichokephalic, or "long-headed;" mesokephalic, or "middleheaded;" and brachykephalic, or "short-headed." A model skull of a flexible material like gutta-percha, if of the middle

FIG. 9-Top view of skulls. a, Negro, index 70, dolichokephalic; b. European, index 80, mesokephalic; , Samoyed, index 85, brachykephalic.

shape, like that of an ordinary Englishman, might, by pressure at the sides, be made long like a negro's, or by pressure at back and front be brought to the broad Tatar form. In the above figure it may be noticed that while some skulls, as b, have a somewhat elliptical form, others, as a, are ovoid, having the longest cross diameter considerably behind the centre. Also in some classes of skulls, as in a, the zygomatic arches connecting the skull and face are fully seen; while in others, as b and c, the bulging of the skull almost hides them. In the front and back view of skulls, the proportion of width to height is taken in much the same way

as the index of breadth just described. Next, Fig. 10, which represents in profile the skulls of an Australian (α), a negro (e), and an Englishman (), shows the strong difference in the facial angle between the two lower races and our own. The Australian and African are prognathous, or "forward-jawed," while the European is orthognathous, or upright-jawed." At the same time the Australian and African have more retreating foreheads than the European,

FIG. 10. Side view of skulls. d, Australian, prognathous; e, African, prognathous; f European, orthognathous.

to the disadvantage of the frontal lobes of their brain as compared with ours. Thus the upper and lower parts of the profile combine to give the faces of these less-civilized peoples a somewhat ape-like slope, as distinguished from the more nearly upright European face.

Not to go into nicer distinctions of cranial measurement, let us now glance at the evident points of the living face. To some extent feature directly follows the shape of the

On looking

skull beneath. Thus the contrast just mentioned, between the forward-sloping negro skull and its more upright form in the white race, is as plainly seen in the portraits of a Swaheli negro and a Persian, given in Fig. 1I. at the female portraits in Fig. 13, the Barolong girl (South Africa) may be selected as an example of the effect of narrowness of skull (b), in contrast with the broader Tatar, and North American faces (d, f). She also shows the convex African forehead, while they, as well as the

Hottentot (c), show the effect of high cheek-bones. The Tatar and Japanese faces (d, e) show the skew-eyelids of the Mongolian race. Much of the character of the human face depends on the shape of the softer parts-nose, lips, cheeks, chin, &c., which are often excellent marks to distinguish race. Contrasts in the form of nose may even exceed that here shown between the aquiline of the Persian and the snub of the Negro in Figs. 11 and 13. European travellers in Tartary in the middle ages described its flat-nosed

FIG. 12.-Female portraits. a, Negro (W. Africa); b, Barolong (S. Africa); c, Hottentot; d, Gilyak (N. Asia); e, Japanese; Colerado Indian (N. America),

g, English.

inhabitants as having no noses at all, but breathing through holes in their faces. By pushing the tips of our own noses upward, we can in some degree imitate the manner in which various other races, notably the negro, show the opening of the nostrils in full face. Our thin, close-fitting lips, differ in the extreme from those of the

negro, well seen in the portrait (Fig. 13) of Jacob Wainwright, Livingstone's faithful boy. We cannot imitate the negro lip by mere pouting, but must push the edges up and down with the fingers to show more of the inner lip. The expression of the human face, on which intelligence and feeling write themselves in visible characters, requires an artist's training to understand and describe. The mere