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Section 21. (8) The Hand.

The physiognomy of the hand stands close to that of the face in significance and is in some relations of even greater importance, because the expression of the hand permits of no, or very slight, simulation. A hand may be rendered finer or coarser, may be rendered light or dark, the nails may be cared for or allowed to develop into claws. The appearance of the hand may be altered, but not its physiognomy or character. Whoever creases his face in the same way for a thousand times finally retains the creases and receives from them a determinate expression even if this does not reveal his inner state; but whoever does the same thing a thousand times with his hand does not thereby impress on it a means of identification. The frequent Tartuffian rolling of the eyes finally gives the face a pious or at least pietistic expression, but fold your hands in

daily prayer for years and nobody would discover it from them. It seems, however, of little use to know that human hands can not be disguised, if they are little or not at all differentiated; but as it happens they are, next to the face, the most extremely and profoundly differentiated of human organs; and a general law teaches us that different effects are produced by different causes, and that from the former the latter may be inferred. If then we observe the infinite variety of the human hand we have to infer an equally infinite variety of influences, and inasmuch as we cannot trace these influences any further we must conclude that they are to be explained causally by the infinite variety of psychical states.

Whoever studies the hand psychologically gains in the course of time a great deal of faith in what the hand tells him. And finally he doubts it only when chirognomy conflicts with physiognomy. If in such cases it is observed that the hand is more likely to be correct than the face, and that inferences from the hand more rarely show themselves to be false, one is reminded of the dictum of Aristotle, "The hand is the organ of organs, the instrument of instruments in the human body." If this is correct, the favored instrument must be in the closest kind of relation with the psyche of the owner, but if this relation exists there must be an interaction also. If the hand contained merely its physical structure, Newton would never have said, "Other evidence lacking, the thumb would convince me of God's existence."

How far one ought to establish fundamental propositions in this matter, I can not easily say. Perhaps it would be scientifically most correct to be satisfied for the time with collecting the carefully and keenly observed material and getting the anatomists, who are already in need of material for professional investigations, to take the matter up; in collecting photographs of hands belonging to persons whose characters are well known and in getting a sufficient number of properly equipped persons to make the collection. If we had enough material to draw fundamental principles from, much that has been asserted by Bell, Carus, D'Arpentigny, Allen, Gessmann, Liersch, Landsberg,[1] etc., might be proved and tested. But their statements

are still subject to contradiction because their fundamental principles are not sufficient for the development of a system. Probably nobody will doubt some of the more common statements; all will grant with Winkelmann that a beautiful hand is in keeping with a beautiful soul; or with Balzac that people of considerable intellect have handsome hands, or in calling the hand man's second face. But when specific co-ordinations of the hand are made these meet with much doubt. So for example, Esser[2] calls the elementary hand essentially a work hand, the motor essentially a masculine hand, having less soul and refinement of character than will and purposefulness. So again the sensitive hand implies generally a sanguine character, and the psychic hand presents itself as the possession of beautiful souls and noble spirits.

However true this classification may be, the establishment and description of the various significatory signs is very difficult, especially because the forms named rarely appear in clear and sharply defined subdivisions. The boundaries are fluid, like the characters themselves, and where the properties of one group pass almost directly into the other, both description and recognition are difficult. If, then, we can not depend upon a systematic, and at present remote treatment, we still may depend on well-founded observations which appear as reliable presuppositions in the light of their frequent repetition.

Not essentially psychological but of importance for the criminalist are the inferences we may draw from Herbert Spencer's assertion that people whose ancestors have worked with their hands possess heavy hands. Conversely, people whose ancestors have not worked hard with their hands possess small and fine hands. Hence the small delicate hands of Jews, the frequent perfection of form and invariable smallness of the hands of Gypsies, who have inherited their hands from high-cast Hindoos, and the so-called racial hands of real aristocrats. That hard work, even tumbling, piano playing, etc., should alter the form of a hand is self-evident, since muscles grow stronger with practice and the skin becomes coarser and drawn through friction, sharp wind and insufficient care. As is well known, physical properties are hereditary and observable in any study of races; is it any wonder that a skilled glance at a man's hand may uncover a number of facts concerning the circumstances of his life? Nobody doubts that there are raw, low, sensual, fat hands. And who does not know the suffering, spiritual, refined, and delicate

hand? Hands cannot of course be described and distinguished according to fixed classification, and no doubt Hellenbach was right when he said, "Who can discover the cause of the magic charm which lies in one out of a hundred thousand equally beautiful hands?"

And this is remarkable because we are not fooled through a well cared for, fine and elegant hand. Everybody, I might say, knows the convincing quality that may lie in the enormous leathery fist of a peasant. For that, too, is often harmoniously constructed, nicely articulated, appears peaceful and trustworthy. We feel that we have here to do with a man who is honest, who presents himself and his business as they are, who holds fast to whatever he once gets hold of, and who understands and is accustomed to make his words impressive. And we gain this conviction, not only through the evidence of honest labor, performed through years, but also through the stability and determination of the form of his hands. On the other hand, how often are we filled with distrust at the sight of a carefully tended, pink and white hand of an elegant gentleman— whether because we dislike its condition or its shape, or because the form of the nails recalls an unpleasant memory, or because there is something wrong about the arrangement of the fingers, or because of some unknown reason. We are warned, and without being hypnotised, regularly discover that the warning is justified. Certain properties are sure to express themselves: coldness, prudence, hardness, calm consideration, greed, are just as indubitable in the hand as kindness, frankness, gentleness, and honesty.

The enchantment of many a feminine hand is easily felt. The surrender, the softness, the concession, the refinement and honesty of many a woman is so clear and open that it streams out, so to speak, and is perceivable by the senses.

To explain all this, to classify it scientifically and to arrange it serially, would be, nowadays at least, an unscientific enterprise. These phenomena pass from body to body and are as reliable as inexplicable. Who has never observed them, and although his attention has been called to them, still has failed to notice them, need not consider them, but persons believing in them must be warned against exaggeration and haste. The one advice that can be given is to study the language of the hand before officially ignoring it; not to decide immediately upon the value of the observations one is supposed to have made, but to handle them cautiously and to test them with later experiences. It is of especial interest to trace

the movement of the hand, especially the fingers. I do not mean those movements which are external, and co-ordinate with the movements of the arm; those belong to mimicry. I mean those that begin at the wrist and therefore occur in the hand only. For the study of those movements the hand of childhood is of little use, being altogether too untrained, unskilled, and neutral. It shows most clearly the movement of the desire to possess, of catching hold and drawing toward oneself, generally toward the mouth, as does the suckling child its mother's breast. This movement, Darwin has observed even among kittens.

The masculine hand is generally too heavy and slow, clearly to exhibit the more refined movements; these are fully developed only in the feminine, particularly in the hands of vivacious, nervous, and spiritually excitable women. The justice who observes them may read more than he can in their owner's words. The hand lies in the lap apparently inert, but the otherwise well concealed anger slowly makes a fist of it, or the fingers bend characteristically forward as if they wished to scratch somebody's eyes out. Or they cramp together in deep pain, or the balls of the four other fingers pass with pleasure over the ball of the thumb, or they move spasmodically, nervously, impatiently and fearfully, or they open and close with characteristic enjoyment like the paws of cats when the latter feel quite spry.

Closer observation will show that toes reveal a great deal, particularly among women who wear rather fine shoes and hence can move their feet with greater ease. In anger, when they cannot, because it would be suggestive, stamp their feet, the women press their toes closely to the ground. If they are embarrassed they turn the sole of their shoe slightly inwards and make small curves with the point on the ground. Impatience shows itself through alternating and swinging pressure of heel and toe, repeated with increasing rapidity; defiance and demand through raising the toes in such a way that the sole is directly forward and the foot rests only on the heel. Sensuality is always indicated when the foot is put forward and the shin bone lightly stretched out, when all the toes are drawn in toward the sole just as the cat does when she feels good. What women do not say in words and do not express in their features and do not indicate in the movement of their hands, they say with their feet; the inner experience must express itself externally and the foot most betrays it.

In conclusion it ought to be kept in mind that the hands of all

those people who claim to be hard workers but who really try to live without work, i. e. thieves, gamblers, etc., ought to be carefully examined. Concerning the value of graphology see my "Manual for Examining Judges."