The general rules to be observed in connection with this most remarkable point are as follows:
The line of head is usually in accordance with the type of hand on which it is found—namely, practical on a practical type, imaginative on an artistic, and so on. It therefore follows that signs contrary to the nature are more important than characteristics indicated in accordance with it.
These peculiarities, it is therefore more reasonable to assume, relate to the development of the brain outside and beyond its natural characteristics. Such a divergence might be accounted for by the theory that the various tendencies of the brain reach their working point through a process of slow growth and development, similar to the evolutions of life itself. It therefore follows that at the age of twenty there may be the commencement of a development which may alter the entire life at thirty; but as that change has already commenced in the brain, so must it affect the nerves and thus the hand. Thus a tendency toward a change of thought or action is indicated years before it takes place.
Starting with the elementary hand, or the nearest approach to it found in these countries, the natural head-line on such a type would be short, straight, and heavy; consequently the development of it to any unusual extent will show unusual characteristics in such a subject. For instance, such a line of head dropping downward toward Luna will show an imaginative but superstitious tendency, completely at variance with the brutal and animal nature it influences. This accounts for the fear of the unknown, the superstitious dread that is so often found among the lower class of humanity, particularly among savage tribes.
The Line of Head in Relation to the Square Hand
The square hand, as I have stated (Part I., Chapter III.), is the useful or practical hand; it deals with logic, method, reason, science, and all things appertaining to such matters.
The line of head on such a type is straight and long, in keeping with the characteristics of the hand itself. It therefore follows that the slightest appearance of this line sloping, being the direct opposite to the nature, shows even a greater development of the imaginative faculties than a far greater slope of the same line on a conic or psychic, but the difference in the class of work would be the difference of temperament. The square hand with the sloping head-line would start with a practical foundation for imaginative work, whereas the other would be purely inspirational and imaginative. This difference is extremely noticeable in the hands of writers, painters, musicians, etc.
The Line of Head in Relation to the Spatulate Hand
The spatulate hand (Part I., Chapter IV.) is the hand of action, invention, independence, and originality. The natural position for the line of head on this type is long, clear, and slightly sloping. When, therefore, on such a hand this sloping is accentuated, the result is that all these characteristics are doubled or strengthened; but when lying straight, the opposite of the type, the subject’s practical ideas will keep the others so much in check that the plans of the imagination will not get scope for fulfilment, and, as far as the temperament is concerned, the nature will be restless, irritable, and dissatisfied.
The Line of Head in Relation to the Philosophic Hand
The philosophic hand (Part I., Chapter V.) is thoughtful, earnest in the pursuit of wisdom, but imaginative and rather eccentric in the application of ideas to every-day life. The natural position for the line of head on this type is long, closely connected with the line of life, set low down on the hand, and sloping. The unnatural type, or the man with the straight line of head on p. 93 the philosophic hand, the line set high on the hand and straight, is critical, analytical, and cynical; he will pursue wisdom, and particularly the study of his fellow-men, only to analyze their faults and failings, to expose their fads, fancies, and foibles; he will stand on the border-land of the mystic, to sneer at the unreal, to laugh in the face of the real; he will fear nothing, neither things spiritual nor things material; he can be imaginative or practical at will; a genius that discredits genius, a philosopher that disarms philosophy—such is the hand of a Carlyle.
The Line of Head in Reference to the Conic Hand
The conic hand (Part I., Chapter VI.) belongs to the artistic, impulsive nature, the children of ideas, the lovers of sentiment.
In this type the natural position for the line of head is that which gradually slopes downward to the Mount of Luna, generally to the middle of it. This is the most characteristic, and gives the freedom of Bohemianism to these worshipers of the beautiful; here it is that we find the greatest leaning toward sentiment, romance, and ideality, in opposition to the practical qualities of the square type. These are indeed the luxurious children of the Sun; they have a keen appreciation for the things of art, but are often without the power to give expression to their artistic ideas. However, when the line of head is straight, in combination with such a nature, a very remarkable result follows. The subject with such a hand will make every use of his artistic ideas and talents, but in a practical direction; he will intuitively feel what the public demands; he will not care for art so much as for the money it brings; he will conquer the natural love of ease and luxury by strength of common sense and determination; where the man with the sloping head-line would paint one picture he will paint ten—and, furthermore, he will sell them. Why? Because through his practical business sense he will know what the public wants, and as is the demand, so will be the supply.
The Line of Head in Relation to the Psychic Hand
The natural position for the line of head on this hand is extremely sloping, giving all the visionary, dreamy qualities in accordance with this type. It p. 94 is one of the rarest things to find a straight line of head on such a hand, but when found it is generally on the right hand, the left being still very sloping. Such a formation denotes that by the pressure of circumstances the entire nature has undergone a change and has become more practical. This type, even with the straight line of head, can never be very material or business-like, but in matters of art the subject will have a very good chance, as he would have more opportunity to exercise his talents, yet even in art it would require the greatest tact and strongest encouragement to induce him to turn his talents to practical use.
By such illustrations the student will understand how to make every other modification in accordance with the type of hand. The modifications of the head-line are more important than any other marks that the hand possesses.