IBRARY OF MEDICINE '■:. : >✓ NATIONAL LIBRARY OF MEDICINE NATIONAL LIBRARY OF MEDICINE NATIONAL LIBRARY OF MEDICIN ao6eo£80o ZZbl F \-lU a©. \\ 3 61*1 1^™* Copyright, 1922 by William Leslie French Made in the United States of America DctMcateo to WILLIAM GLENNEY FRENCH and ELIZA FALCONIE McGEORGE Credit is to be given to the following publications from which I have received permission to use some of the material which I have had published therein: Techni- cal World, Harper's Weekly, Harper's Bazaar, Good Housekeeping, Woman's Home Companion, Movie Weekly, The Sun, New York, Sunday Edition 1919, 1920, Leslie's Weekly AN OPINION By The biggest things in the universe are the stars, also the smallest, since even the most powerful telescope opens up new worlds. The brain was able to evolve eyes and interpret the vibrations of ether so as to reveal to us the infinitely great. The infinitely little gives me great respect for that modified piece of skin called the brain, skin so tough that it can touch glowing coals without injury, so sensi- tive that thought will make it quiver. The human brain is capable of taking in through sight the infinitely great and the infinitely little and interpreting it. There are thousands of children, who if placed in the uttermost confines of our solar system would recognize the same constellations; the few, a dozen stars out of the hundreds of millions. What a train of thought the word '' Mother'' brings up out of the 600,000 words of the English language! How wonderful are the perceptions of the gambler who knows the cards after he has once handled them so that in European gambling clubs, only new packs are used. While I am personally deficient in keen observation, would never make a good gambler or be able to see the moons of Jupiter with the naked eye, or even to recognize my own brother if I met him unexpect- viii An Opinion edly in a strange city, I, nevertheless, know that there are men who have powers of observation, trained by practice, and synthetized by good judgment, and these men I employ as specialists when I need their knowledge. In Germany, as well as other European Countries, a vast literature has grown up, on the subject of Graphology,—The Science of inter- preting handwriting. Permanent characteristics, talents, the emotions, and incipient insanity are all revealed in the writing of individuals. There are men who have the natural ability to interpret hand- writing and who have supplemented this ability by much experience and study. William Leslie French is one whose gifts I have tested. On various occasions I submitted to Mr. French samples of hand- writing, not of strangers, but of people I know very well. From these samples he was able to give advice that I recognized as good. I felt that it would be safe to be helped by him as to people I did not know. The following are samples of Mr. French's skill: I submitted a social letter. Mr. French instantly said, "The writer has literary ability and would write well on such a scientific subject as metallurgy.'' The next mail brought me from the writer two pamphlets on the technicalities of cast iron. Mr. French made many other ob- servations as to this specimen, some of them inspiring confidence, others putting me on my guard. Another specimen! Mr. French stated at once, "The writer is recklessly extravagant, absolutely unfitted for any commercial career, but also a person of big conceptions.'' Here again I found both warning and encouragement. In a third case he said, "It would be advisable never to employ this person for detailed work. Always in a hurry, never stops, plunges straight ahead! But a remarkable critical faculty is indicated.'' Here again were warnings and encouragements. In each of these three cases I knew the writer well. In a fourth instance, a man came to me with a large business project. An Opinion ix Mr. French seeing a letter from him, replied, "This man is ugly when angry, irritable, not wholly reliable, showing the external pen- signs of mental breakdown or even paresis. Do not associate with him in business as he is obstinate, determined, and not amenable to reason. He has energy, force, perseverance; would make a good sales- man, and a fair executive, being preeminent in technical work." With these warnings and admonitions how much better I am fitted to negotiate with this man! If I want him for a technical investiga- tion—Yes—, for a salesman—Perhaps—, for a business associate— No—! I have weighed Mr. French's ability and often consult him, and having heard what he sees, I decide for myself and often wish later that I had given more weight to his statements. Every man is interested in himself, as to what he is best fitted for, as to special faults and special qualities. He ought to be interested as to incipient and impending weaknesses. Every man can therefore test on himself Mr. French's ability. If he finds him reliable and skilled, as I have found him, he can, if he is wise, consult him as to the characteristics of other people. Mr. French was originally recommended to me by the editor of one of our leading scientific journals and he has written on his subject for a number of the prominent periodicals. I cordially recommend him as a man able to see much where I can only see a little; but his methods I canj understand, . . . minute observation, classification, analysis, synthesis, generalizations. It is coming more and more to be realized that no man can escape from himself or even hide himself from others. Both in Germany and in this country Institutes exist for the express purpose of analyzing men and women. There are two problems: to find the right man for a position, to find the right position for a man. How often is either problem solved ? How many men do you know who are absolutely fit for their positions? x An Opinion Caruso, Charlie Chaplin, Jack Dempsey, Foch, Kreisler, Lloyd George, Herbert Hoover, Cardinal Mercier! What are their rewards? What would a man have been worth who could have stopped the world war? Even if we count down the great stars we can avoid the misfits and that is perhaps the greater half of the battle. PREFACE In preparing this series of articles and other material which is cognate to the Psychological aspects of handwriting, I have arranged the contents so that it is adapted to the general reader and student. The principles of this science are embodied in the numerous observa- tions and conclusions that I have made plain without unnecessary comments. Each chapter contains some of the underlying principles of hand- writing psychology as applied to some phase of human endeavor, commercial advancement, or protection and such information as is relative to characteristic traits, aptitudes and talents which are re- vealed. In my own experience I find that the text is best accompanied with the illustrations numbered in series, adapted to each specific topic as discussed. In closing, my belief is that this science if properly employed is valuable in offering an accurate solution for every human problem. W. L. F. CONTENTS CHAPTER I. Introduction ...... Series of illustrations, 13 II. Index to your Physical and Mental State Series of illustrations, 35 III. Psychology and Commercial Life Series of illustrations, 23 IV. Representative Men of the United States Series of illustrations, 40 V. The Administration X-Rayed . Series of illustrations, 12 VI. Standard Forms of Executives Series of illustrations, 16 VII. Commercial Types ..... Series of illustrations, 18 VIII. Detecting Dishonesty .... Series of illustrations, 20 IX. Criminality...... Series of illustrations, 25 X. Science....... Series of illustrations, 14 XL Editorial and Literary Style . Series of illustrations, 19 xiii xiv Contents XII. Literary Talent.......130 Series of illustrations, 24 XIII. Art, Music and the Drama.....136 Series of illustrations, 35 XIV. Representative Women Typifying our American Standards and Ideals . . . . . 153 Series of illustrations, 12 XV. Her Handwriting.......158 Series of illustrations, 12 XVI. The Marriage Relationship.....166 Series of illustrations, 47 XVII. When Cupid Starts A-Laughing with his Pen and Ink 190 Series of illustrations, 12 XVIII. The Success of Favorite Movie Stars Explained in their Handwriting ....... 202 Series of illustrations, 20 XIX. Psychological Surveys......220 Series of illustrations, 4 The Psychology of Handwriting The Psychology of Handwriting CHAPTER I INTRODUCTION "The Moving Finger writes; and, having writ, Moves on: nor all your Piety nor Wit Shall lure it back to cancel half a Line, Nor all your Tears wash out a Word of it." On account of the close relationship existing between an individual and his writing, the signs set down in one form or another may sym- bolize his entire personality. Writing becomes even to the ordinary observer, the index of strength of character, will power, judgment, and passion—and reveals fully the class of people whom one would choose for associates. Now the mind employs the brain as the medium through which it issues its commands. Here is life in the brain or mind. It produces certain movements and gestures through the nerves and muscles. This produces ideas, mental processes which are possibly due to chemi- cal changes, sentiments and emotions, all of which are translated into written actions. We classify these handwriting symbols in the same fashion as a botanist who classifies plants according to climate, environ- ment, or habits. Likewise, the chemist tests the elements with which he experiments, making minute analyses and works to secure accurate results. So the handwriting Psychologist studies and arranges his specimens and interprets the significance attached to a wide and varied 3 4 The Psychology of Handwriting number of hand-movements. Through observation, he judges each small group of inscribed signs which are more or less energetic, intense, or calm. He recognizes that the writer controls his pen or pencil, if he writes naturally. But his mind impels him to write. The sign- gestures are reflections of invisible mental operations, processes. The cerebral movements are transmitted to and from the nerve centers. The sign-values are permanent, but also occasionally transitory and variable. All that is necessary to consider is that the impulses which are transmitted from the brain to the fingers differ, in degree, with each person, setting him apart from his fellows; and by comparing the strength or weakness of strokes with the particular formations which appear, it is possible to reach an accurate conclusion. So people are divided into groups in accordance with their like- nesses or dissimilarities of pen formations. The English writer, Disraeli says, "Handwriting bears an analogy to the character of the writer, as all voluntary actions are characteristic." It is a common occurrence with us all to recognize the script of our friends and acquaintances. We do it at sight, automatically, in the same way that we know the tones of voice. The science of reading character from handwriting is a simple one, if the principles laid down are followed. At the outset, it is self-evident to everyone that bodily weakness affects the steadiness of the hand. In wielding the pen, the person's force and stamina being lowered, the features of the writing become altered, reflecting such debility. No malady to which we are heirs but stretches its tentacles along the nerves, getting the muscles in their firm grasp, and this retards freedom of movement. For this reason a change is made in an individual's usual style. Everywhere, children by their simple, half-formed writing, show that their bodies have not become hardened or their characters fully developed. From No. I, one can tell at a glance that this writing reflects a character and mentality in the process of growth. The uncertain slant and the halting, stilted manner of making the words Introduction 5 and crossing the t, betray this. In like manner, the advance of old age leaves traces in wavering and tremulous lines, frequently the last words No. i. A child shows his unformed character by his unformed writing inclining downward to the right. No. 2 is a fair example—a woman past eighty. It requires no necromancy to determine, by a single glance, which of the two specimens, Nos. 3 and 4, shows the greater amount of force, ^s~c£cb**- XcLc No. 7 Second vnW^ -nts*^ fr-Ky^? No. 9 Fourth No. 10 Fifth Wlw* ^-X _ ^v,----^ ^ *^vc » No. 4 Too great emotion! No. 4 especially illustrates that her imagina- tive faculty is running rampant, so dominating this writer, so swaying Your Physical and Mental State 19 her every thought that her actions are marked by excitement, vacilla- tion, moodiness and even her speech. At the start she flies upward with large, flamboyant flourishes as if to say, "I have a great idea for a story and I know that I can sell it anywhere. I am going right home and write.'' But she never does! The angle of her words changes, her ideas change also. Her arm and hand weaken, relax, while her words slant downward in a melancholy fashion with not enough buoyancy actually to finish her final strokes aright. You will observe that naturally she has much physical vitality, as is shown by the long looped extensions of long letters below the line. Both men and women who exhibit these signs are endowed with much vivacity, spring and elasticity. SHOULD EXERCISE Such individuals should take regular and persistent exercise in the open so that they can hold in check their tendencies to intensity of thought and emotion. The excessive use of coffee, tea or stimulants will increase their natural propensities and sooner or later they will go to pieces. Curiously enough where these exaggerated forms are found then the desire and unnatural craving exist—something to take the place of the energy lost by emotion. Still, the very existence of the partially high looping of the l's and other long letters above the line is advantageous, for it indicates that the writer is gifted with big vision, is far sighted and, other traits being evenly developed, will be successful. These looped forms appear in the handwriting of many able and effi- cient people in all walks of life. No. 5 reveals the hallmarks pointing to keen vision and shrewd intelligence, reenforced by steady, even pressure and excellent connec- tions. The looped signs referred to, when examined with reference to mental and physical poise as here shown, indicate that such writers are sure to be responsible in all of their actions. Naturally there are many varieties as to type, but like the man with a wooden leg, easily recognized—the pen-gait tells! 20 The Psychology of Handwriting ^C^L^ v 4V ^^-^^^^c^C^ ^c^^^^e^t^^L^ No. 5 With No. 6 there is evidence of remarkable strength and abundant vitality. This writer has spent the larger portion of his life in wide wind-blown spaces, having arrived at the age of fourscore and ten, being still hale and hearty. He has never had a severe illness in his life, so he says, and his direct, straightforward script is indicative of HtJcfc- /c^^L No. 6 his rugged honesty of statement, apart from anything else. His is the domination over muscle, nerve and mind, for every stroke is powerful with ink and the firm even flow, vigorous assurance in every word, is significant of courage, will power, determination and restless activity. Do you note any weak spot, any sudden or erratic splashes? You do not! Your Physical and Mental State 21 PERFECT PHYSICAL POISE There is almost perfect physical poise and consequently he has the intellect to match it. His specific achievements in his part of this country are on record and they reflect the soul of the man. Having had the opportunity of examining many specimens of lounge lizards, night hawks, both male and female, I would say that if they began to care for their bodies in the manner such as this writer, they will live to enjoy life to the full when they get older, and be of some use to society at large. Their pen-formations do not lie! Naturally there are many cases where healthy physiques are accom- panied by weak mentalities, and the reverse. However, when this happens, you will find here and there through the writing certain pecu- liar or rare signs which to the trained expert signify those tendencies, which would not be apparent to others. Frequently this is shown when an individual has had a severe illness, which deprives him of his ability to think and act rationally. In some portion of his script alterations will appear, which may have been caused by delirium or fever-hallucina- tions. And these changes are self-evident to the discerning eye. The examples shown in Nos. 7 and 8 were written by a man who had had a severe nervous illness and had partly recovered. At first (t/^4$^Le^ axe. a,£u^s£ZZ*'4/i ^cLd^ -j^**+~> -f-y~* No. 7 glance they appear to be quite dissimilar. But there is a general like- ness displayed in the fleet swing, well-made connections, small letters sharpened at the top, with the fashion of word formation as in "you," which is one point of identification. The first is plainly written by 22 The Psychology of Handwriting one who has pretty good control over his hand—evidenced by the balance and steady movement throughout. That which was inscribed No. 8 later on is abnormal, irregular, revealing hurried extended "t" dashes and a decided weakening of the lines at the end as if his fingers and hand had utterly relaxed, strengthless or nearly so. His unaccustomed dashes indicate high tension and nervous ex- citability, while the break between some of his word-forms shows that the writer held his breath for a moment before he continued his writing. In addition this very uncertainty in using his fist would have a reaction upon his mind and thus effect a further transformation. Still the con- struction of words and letters is practically alike in form. They remain constant in the same way as the bony structure of the hand remains, reflecting the writer's original endowment which holds steadily through good health and ill. When a person recovers his strength his writing also takes on a like color and assumes the original structure. Now as a short illness of severity will depress the usual swing and slope for a brief time, and temporary moods produce alterations in the script, so a person under great stress of emotion or trouble will exhibit some marked changes, if only for the time being. No. 9 was dashed off by a person who had just heard of the death of a relative. Under normal conditions this writing runs across the page with an even base line, but here there is a noticeable weighing down of the line at the end. A melancholy state of mind. Once in a while one is able to secure a specimen of some medical man who is subject to extreme nervous attacks; and No. 10 was written 1 Your Physical and Mental State 23 by an eminent surgeon just after he had finished a big operation which tasked his nerve and left him in a tense condition. You will note that No. 9 his connections are clearly made, and that he uses a uniform pressure with minutely formed characters—the sign of great power of applica- tion. If you met this individual you would be struck by his robust physique and good color. But his script as herein shown is as tremu- lous as if he had the palsy and filled with other peculiarities. No. 10 When he is absent from his work he writes in the same general manner, but the variations are not evident to even the casual eye. It is true that after he has completed a skilful operation he immediately goes away for an extended vacation until he has recuperated. He gave this for comparative purposes. As we are in the experimental stage of prohibition, it is interesting to see to what extent the abuse produces certain and almost fundamental alterations in their pen-prints. Some under the influence of liquor, if very drunk, will scrawl in every direction. Others under like stimula- tion will write with greater firmness, but under a powerful glass, there will appear peculiar quivers which to the naked eye would not be 24 The Psychology of Handwriting displayed. The fact is that narcotics and stimulants all have their own external signs which are easily recognized if one takes the trouble to look for them. An individual with whom I am acquainted writes to me quite frequently, and with his permission I submit two specimens of his script, one written before he went off on a debauch, the other indited just after he had partly recovered. He is the type who swears intelli- gently whenever he gets under the influence, and then goes to his country home, where he exercises in the open until recovery. Burning the candle at both ends and in the middle, it seems to me! No 11 was written in his usual clear clean cut fashion, each word well made and a complete absence of any irregularities. When he No. ii writes in this way he exhibits keen intelligence, is forceful and logical and shows every evidence of being in control of his actions and physi- cally strong. It is easy to see that when he penned No. 12 he was upset No. 12 and disturbed. His tracks wander hither and thither, he jerks his pen with a quiver and fires his " t" bars and " i" dottings as if he were under some great excitement of delirium. His natural script is rounded, indicating a decent disposition, but here he sharpens it as if his intellect was pointed with irritation, a mass Your Physical and Mental State 25 of sensitive angles, each one on the jump, It looks drunk. It was, and he also. Examine this under a powerful lens and you would see that the edges of some of the down strokes are jagged with fine teeth. The word appearing in each exhibit is alike in form. No variation, indi- cating that his brain still functions in part normally even though blunted in its usual action. It is the connecting link between his two selves, reflecting a dual personality. "drunks" are SUSPICIOUS One of the hardest things to accomplish is to get people who are swayed by drink to give you a specimen, due to that fact that their very intoxication makes them more or less suspicious. When No. 13 put his No. 13 pen to paper he was fighting off the effect of the fumes in his knees and brain. It is clear that his writing is quite legible, even though the man had consumed enough mixed drinks to overcome a regular habitue. His writing is fairly even and he shows good pressure, although he exhibits unnecessary scrawls in occasional letters, his pen slipping from a wabbly hand. In this instance the writer still has some control over his mind. With his companion number (13a) there appears a like pen move- ment and the signs are a trifle more in evidence. His nib zigzags wofully, as is shown in "fight." I might say that neither of these two is so far gone in the use of stimulants that the "liquor, whiskey or gin 26 The Psychology of Handwriting quiver'' could be found. They only drink occasionally. It is valuable to realize that one of these men has apparently a good reason for wish- No. 13a ing to forget a recent experience. "I was traveling down South recently," he said, "and an epidemic broke loose on board ship. The only remedy which prevented those who were still well was hard liquor and plenty of it. Every one who could was ossified, we lost every day ten to fifteen. Drink? you bet, or take drugs. For I won't give myself a chance to get those bugs, even if I am drunk every day." Of course, he was overwrought, but a cause lay behind his state of intoxication. Now you would hardly think that coffee and tea have their drunk- ards, men and women who show peculiar pointed signs in the formation y -i*Mu^/^*i No. 14 \&L of individual letters or in exaggerated capitals when they have drunk too much. But it is so. No. 14, a woman, always had her coffee pot boiling on the stove. She drinks from seven to eight cups in an after- noon, and then some more. Is it any wonder that her script trembles? Your Physical and Mental State ^ If you will look closely you will see that the general force of the writing is there, but modified by the tremble. TEA DRUNKARDS SHOW IT Tea drunkards also show some slight variations, but these are not evident to the ordinary eye. The main indications are found where the writing suddenly becomes rather jagged in spots, in the same way as people who have tendencies to heart affections frequently make a break in the lower part of the down strokes of y's and g's. See No. 15. No. 15 In such cases it really requires an expert psychologist to determine positively, as these special quivers are sometimes alike in form. Those appearing in the script of the aged will often mislead one, for they appear to be similar at first glance, and even the second and the third. The absintheur also has an interesting exhibit, usually accompany- ing his regular forms with a shake of his own, flamboyant flourishes and other sprawls—wild extending strokes of the finals of words. No. 16 is one very fair example, written for the writer by a woman who started in when abroad and has kept up the habit, "Just to plague those dry humorists who have got irreligion." And despite the law, she still has a regular "still" on, apparent to none except one who can read the signs in her pen forms. It may be asked if the drug addict shows an original quiver or shake. He does, but there are several varieties, which run each other a close ^^^^^vfe> c^^^ 28 The Psychology of Handwriting second as far as appearance goes. However, No. 17 will give the reader an idea of what happens when a person has become addicted to mor- No. 16 phine. Here you see a well-known athlete. His script moves ahead slowly but firmly, showing the long extensions below the lines—his natural physical strength and love of sports. Vision this man trying No. 17 to write, his hand working on almost blindly so that his style is stilted. As you follow his lines and words you note that a slight creep develops on the side of various letters, and a thickening also appears in parts of Your Physical and Mental State 29 individual letters. His twin shows quite a different exhibit. No. 18. Did you ever see such an entanglement of lines, and such a smudging No. 18 of words and letters? This man's script denotes that his brain is work- ing through a fog of confusion. In presenting these particular observations I wish to show that a knowledge of this subject is especially valuable because it really covers every form of human endeavor and becomes a safeguard against disease, vice and crime, not to speak of its utility in placing individuals in their proper place in society and the commercial world. Naturally, when you deal with a great variety of human beings, where there are many varieties and numerous types, it is possible to give only such specimens which will present obvious signs so that the reader will not be confused. Where the signs referred to above are not developed too greatly, why there is always time to get control before the tendencies attain complete mastery. Experience has taught me that when you find you are using some hesitancy in writing, in penning your signature, then is the moment for you to stop and consider the why and the wherefore, before it is too late. This does not. mean that you are necessarily in such a condition that you need to consult a specialist, but merely that your script is one positive indication that you should look after your health. In this day and generation, this is wise economy and good efficiency from both the personal standpoint and that of your family. The little things count. And handwriting is one of these. In this connection are typical types who show physical endurance, strong physiques and clear intelligences. 30 The Psychology of Handwriting Rear Admiral, U. S. N. (Retired) Commandant, Navy Yard and Station No. 19. Signature written with perfect connections, determined t-bar, with down strokes heavy below the line. Lieutenant-Colonel, U. S. Marine Corps, Commanding Marines No. 20. Pressure uniform, forceful, long extensions sweeping under the line. Result-producing final. /^7^£^ No. 26. The nerves of the right hand are affected, so that the writing is modified with quavers. Your Physical and Mental State 33 ^ <&>prr~ ^2^^^ No. 27. Individual with neurasthenic tendencies. Intense and emotional. No. 28. Leaning towards pronounced melancholy and even worse. ^^: No. 29. Dementia Praecox. The mind degenerates slowly with dreams always developing and habits foul. Note the involutions of several strokes. 34 The Psychology of Handwriting No. 30. Another type who points towards Dementia Precox. No. 31. Locomotor Ataxia. The movements and ideas are smashed up. --s- *4lJU^/\-- O^L, \ aJ/vvjL zc> '* °t No. 32. Written on the second day after the individual had a paralytic stroke. Observe the degeneration of the strokes and words. Your Physical and Mental State 35 No. 33. Note how much stronger the writing is at the later date ■10 days. CHAPTER III PSYCHOLOGY AND COMMERCIAL LIFE Employer Tells of Amazing Results Attained by Analyzing Script of His Staff—Typical Examples Cited as Guide in Sizing Up Capabilities. In a large room recently a group of business men were seated around a long, flat top table, their faces turned toward the president. As members of the board of directors a grim silence held them. With a slight nod to the vice-president this executive left the chair, and with a sheaf of papers in his hand addressed them. . '' In my additional capacity as general manager of this corporation,'' he said, "this monthly analysis and summary of business, the cost of production and earnings is apparently very bad. Our factories have been running at capacity, and the fault seems to lie with our production manager. In my judgment, 'yes' and 'no.' He has been working like a heavily charged dynamo during the last few months, and his reports have been somewhat irregular. He acts as usual—but----" His eye swept keenly each intent face. He realized that he was responsible for many policies inaugurated and for the selection of practically the heads of all departments. That his methods had been somewhat radical but progressive he also knew. Thus far his associates had given their full approval. He stopped in rather a dramatic fashion, testing their temper and attitude. "During the last two years and without your knowledge," he continued,'' I have been employing the services of a man who is expert in determining people's fitness for one kind of specialized work or 36 Psychology and Commercial Life 37 another. Several of our most skilful managers and salesmen were selected by him as especially adapted for their jobs. Thus far they have all made good. He made psychological examinations of their handwriting, having never seen them or received any advance infor- mation." For an instant an audible gasp went forth. '' I had my own handwriting analyzed by him several months before I met him. Curiosity, if you will. But when he informed me that salesmanship and executive work with constructive ideas were my specialties, why, " he laughed, "I was flattered, but as you know, it is true. I tested his skill for over six months out of my own pocket, and, gentlemen, seven months back, when the writing of our production manager was submitted for his say so, he gave him the highest recom- mendation, chosen first out of ten applicants, but he said that his tendency and weakness was to break under great stress of work, and under such conditions his judgment would be likely to become impaired. He would render inaccurate estimates and muddle his reports. He states further that I could employ him with the assurance that I would secure a star manager, but that details were one of the weak points in his chain. '' It has turned ouc just as he said. Here is the typewritten analysis given to me long ago. Here is another rendered two weeks back on which he says that our man is on the brink of a collapse. And here is another report made out in longhand which I dug up from our mana- ger's desk, written by him, that shows that his mind was clear then and that our monthly earnings are actually far above what we expected. He broke on the last copy! Now, this may appear to you to be a bit odd to use this way to convince you, but it pays in our business to safe- guard ourselves from every angle. Else why do we have to pay under the compensation law and use sanitary precautions? This is just a financial sanitary precaution." "Well, I'll be d----d!" exclaimed the stubborn and argumenta- tive board member. "You've got the stranglehold on us as usual, John." 38 The Psychology of Handwriting J CONFRONTED BY MANY FIRMS J Now this is the situation which confronts many corporations and , firms throughout this country. They choose their associates and employees, in numerous instances, either by reputation or recommenda- ; tion, both of which may be faulty. But if they relied upon the actual evidence as shown by an individual script, given by a competent hand- writing psychologist, they would secure an impersonal point of view < which would frequently save time, worry and useless expense. For . handwriting is a reproduction of a person's traits—his consequent j actions and possible dealings. The commercial aspects of script 4 are the result of close comparison and observation—stroke upon j stroke. I Take twenty men who hold positions of trust and responsibility , and you will find that in many pronounced features there will be i marked similarities. Knowing the characteristics of, say three, in their V business affiliations and transactions and finding like pen-forms in J others, you will discover that these two are replicas in intellectual trend j and action. They naturally will fall into the same class. • Now the executive speaking above is a big, far-sighted man, in- telligently selfish enough to sacrifice immediate gains for future profits, : and to make a wise expenditure to secure a powerful bulwark of human i personnel against possible disaster. He is looking for stability and ,( security, which in the management of industrial and commercial affairs I are essential. He knows men. Also he is not a profiteer. j 4 Psychology and Commercial Life 39 With No. i he introduces himself as a man of force, determination, will-power and acute vision. He pushes h:'s pen with energy and strong hand control. Note the steady, powerful pressure, uniform and exact. His blunted down strokes emphasize his mental alertness, which ap- pears in the perfect connection of his letters. His outlook and broad viewpoint show in the looped "d " and "t" while his judgment can be relied upon, for his spaces between lines and even words are even. It is evident that this writer knows his own mind. No wabbling! No erratic twists and dashes! Having any large transaction to accom- plish every ounce and pound of energy would whirl it to a successful finish. And yet the rounding swing of his rather pointed style, together with the first small letters of words being higher than those following, reveals him to be a man of tact and suavity, but not too suave. His hand is virile with possible fighting activities. Were you acquainted with his signature you would see that his capitals are about the same height and character as that penned by No. 2. No. 2 SIMILAR IN MANY WAYS Although these two are far apart in their daily endeavors, their verisimilitude is apparent. Further, both exhibit by their long ex- tended strokes below the lines a superb natural physical strength and endurance which help feed and sustain their mental powers, their resourcefulness. In Mr. Baruch's case the dash made after certain words gives him additional caution. 40 The Psychology of Handwriting In exhibit No. 3—a woman—there is displayed an equal decision of character and will to achieve, coupled with innate shrewdness and the capacity for continuous work. Her sharpened script endows her ^itZ&Lt^r ^CA **C€4*^t>Cr. cm^. No. 3 with a clear understanding mind. That she is able to plan and execute, to see that her ideas are carried out, are denoted by her concentrated style of writing, her even, decided connections and "t" bars. She also has the executive sense. One fact holds pat with all great executives. The signature is the determining factor, serving as the keystone to the arch of each one's handwriting structure. Of course there are various degrees of this ability. Should the capitals be flamboyant, excessively out of propor- tion to the small letters or body of the writing, then such a wi iter would be so dominant and inflated with his own importance that his intrinsic ' No. 4 reliability would be impaired. Foreshortened financial vision where his cocksure attitude would preclude his acceptance of suggestions or new policies. Thus disaster would eventually fall upon the corporate in- terests of which he was the head. And naturally. See No. 4. The opposite signs obtain as well where the signature is very low Psychology and Commercial Life 41 and precise. In some or other administrative capacities connected with our present Government to-day at Washington are a number of these executives who fall into these two ranks. They cannot help it. Their signatures are insignificant. And, alas, they are really insignificant, also. Should the readers be familiar with any of these writers' script, just observe how easily this statement can be verified. In this connection it follows that individuals who have marked aptitude for such positions as managers, departmental heads and sales managers possess some qualifications of an executive character. Still, in addition, the signs which symbolize their special abilities in this respect are clearly shown. No. 5 The pen traits, which are especially significant in No. 5, are the rapid swing, well-balanced style, positive "t" crossings and even spacing and alignment. These disclose this person's keen grasp of affairs, his excellent method of reasoning and the will to put every detail into execution without fluster or lack of control. His compara- tively low small letters signify his gift to analyze, systematize and collate, so that all data relative to the various departments under his supervision and guidance would be carefully prepared. The entire work performed as to earnings and overhead expenses and the progress in all departments he would handle wTith ease, being always genial toward his subordinates. His hand is not entirely composed of angles. He has an agreeable disposition and is an approachable man. 42 The Psychology of Handwriting HERE IS A VIVID CONTRAST In vivid relief is No. 6—bad relief, any one can notice the striking difference exhibited. Yet the hallmarks are similar up to a certain point. But this individual through nervous tension and irritabilty, as is shown by the breaks between letters and occasional smudging of //(^ *-C*~ *~*-"£l-^V__ *—-% •^V"-flL^ No. 6 strokes and the dashes, exclaims that his usual fair judgment is so modified that he jumps at conclusions, thinks in jerks and quirks, dashing at his duties with an utter lack of poise. His method of direct- ing others would be marked by an endless tendency to discussion. This is indicated by his inflammatory, unevenly shaded strokes, pointed tops, his open '' a's'' and " o's." Tongueitis is his affliction. '' Curse his fault finding and nagging!'' would be heard all along the line, even to the marcelled stenographer and excuse-making office boy. This exhibit is presented so as to make perfectly clear how two men occupying managerial positions and having certain script signs alike may through temperamental conditions be successful or the opposite. So with No. 7, an equal sex manager, there is a noticeable similarity and dissimilarity to those preceding. Her main features, being an almost forced deliberative style and little quickness of movement with very blunt finals, cause her to feel that she is the leading lady in the establishment. She usually says: "I'm right. My figures are correct. The sales in my department are 'way above those of last month." Injured dignity. Her pointed letters are ever ready to impale any reasonable criticism. £A < Psychology and Commercial Life 43 You employers know the type. Well, here is a sample of her writing. Still, her methodical fashioning of each word, her clearly formed connec- MuaJjum V OAL No. 7 tions and solid pressure are indices of mental force and enforced super- vision. Reliable. She writes straight to her ideas, with no uncertain offshoots. But you cannot get on without her, for she is a good manager. THE COLD, CALCULATING TYPE Dipping into the money honeyed district of our great city, your attention is called to No. 8, whose brain teems with cold calculation, facts, figures and finance. He almost looks as if he were suffering from xfe^xi^> ^%^^ &^k& No. 8 jaundice, which he has accumulated from the color of the gold he handles. His skill in ferreting out shady depositors, in giving extension of credits, is found in the angular, penetrating style of his small pointed letters and cut short and forever finals. He never mixes the religion of 44 The Psychology of Handwriting business with the irreligion of sentiment. Each stroke comes down on a delinquent with a decisive "no" which would be as sharp as his razor. His writing is as immaculate1 y accurate as his decisions and his con- servative garments. No. 9 His redeeming feature is that the first small letter of some of his words is higher than those following, as "o" in "over." A cool, dulcet suavity which also is as penetrating as his handwriting eye. His logic is that of a reasoning machine which never slips a cog when it comes to financial transactions. An excellent man in his place. And the resemblance to this exhibit, pictorially, of efficient cre'dib managers is pronounced, even though in most instances there are the signs of a little more variety in treating humans. Thus No. 9 has the same essential hallmarks. There is less hardness and sharpness in his No. 10 down and cross strokes, while his general style is not ossified with granite pen atoms. There is a like keenness, perspicacity, shrewdness, but his easy flow would make him less adamantine in treating those who were behind in their payments. Psychology and Commercial Life 45 By contrast the wild, erratic sprawling display of No. 10 removes him far from any real actual capacity for holding down a credit position successfully. Yet this is his job. And only the financial gods can decide—why ? You note that his whole script flaunts wide open with a lack of word control, with a tendency to go after collections with pick and shovel. An excellent man to handle Bolshevistic investors in encyclopaedias or fictional monstrosities. Again the expert in statistics indites a hand whose signs are illus- trated by No. 11. Observe the close power of application and ana- lytical insight revealed by the carefully, minutely formed, well-balanced No. u words. The sharpened tops of many letters also endow the writer with a fine critical faculty and the ability to discriminate between false and accurate data. His precise punctuation and exact'' t-bar'' show a high degree of commercial caution. "No possible shadow of doubt, no possible doubt whatever," but that he would include the uttermost farthing when compiling a statis- tical report, or any other. HOW TO TELL GOOD SALESMEN In selling goods, commodities, ideas, and money or its equivalent there are numerous varieties of script forms displayed, but No. 12 is an excellent illustration of a man who has the ability to sell with bright intelligence and to close contracts. It is evident he has a rapid, well poised swing; a concentrated style and uniform pressure, combined with tightly closed letters and rather high looped extensions above the lines. Here is discovered the quick, energetic talker—convincing, not too 46 The Psychology of Handwriting persuasive, but able to array his facts with clarity. He would present an argument in favor of his product easily. He rounds his under strokes. His tongue would not run away on a tangent. &4L**~a~ // - '?s6~ No. 12 Imagination is well restrained! His firm fashion of bringing his strokes down straight indicates persistence, firm and sure spoken. So out with his pen at the right moment and your signature to a contract would be signed before you had really grasped his meaning. The general pen-gestures extending upward toward the right resemble the buoyant enthusiasm of a healthy mind, intent and alert to do his work effectively and well. Such writers go abroad with their eyes wide open. They excel in the fields of advertising, space selling, as bonds salesmen or in kindred lines. But they must show most of these signs to be successful if not all. In this class is No. 13, whose signature if regarded alone, is rampant with self-assurance and big conceptions. He forges ahead with com- plete disregard of all petty details, for the idea is the main thing with him. Every capital letter proclaims his ability to adapt himself or curve around to novel or unexpected situations. And his pointed style Psychology and Commercial Life 47 and pronounced connections put arguments upon his lingual flow which would convince a continental banker of his utter inefficient financial acumen. At times such a vivid redundant style of signature would 4srt»*t^U- ^C^C^r- sfe~^* No. 13 produce too great enthusiasm. But the holograph of this writer de- notes great and natural talent for promotion—one who can sell and in large quantities. In view of these two exhibits, would you entrust No. 14 to represent you in the selling field? I doubt it. A mere glance will confirm you that the penman ambles along with about as much force and determina- No. 14 tion as an invertebrate Leghorn pullet which has been reading Mrs. Margaret Sanger on birth control. His script moves with his gait, one might say, as far as self-confidence is shown. As the individual who controls the howitzer in commercial organi- zations is the auditor or accountant, so No. 15 is an example of one whose mental traits enable him to devise financial systems, plan ex- penditures and give accurate reports in detail. Notice his balanced The Psychology of Handwriting reserved style, the logical connections, equal spacings and orderly marginal alignment. This writer would approach any industrial proposition, or any other, calmly, with an inward eye trained to dis- No. 15 cover errors and rectify mistakes. He indites, as you see, a cool, rounded hand with his small letters pointed at the top; while his lines are straight—honesty—and his equally moderately low words—atten- tion to details with the penetration to see a final solution to any problem which presents itself. Also he would be systematic to the last degree. Were his figures present you would note instantly their copper-plate appearance. With No. 16 what care he places his punctuation. People who are allied to this in these pen-particulars are adapted for accountancy, auditing, statistical engineering and the most exacting mathematical calculations. Thus with No. 16 evidences of like character are shown, with one Psychology and Commercial Life 49 exception worthy of consideration. This writer's curved and rigid swing would make him over-diligent and too conscientious, if such is possible. He writes straight without any gross exaggerations in the way of muddied formations. He is the type who would work under the electric light far into the night—and perhaps miss his train. If this points a moral all well and good. But where figures must be accurate, balances at the end of the day correct, then it is poor policy for any firm to instal a system that makes for overwork. The writer shows loyalty and a willingness to assume even the smallest responsibilities. This is where this man is less efficient than that preceding. THE SCIENTISTS AND ENGINEERS As the spheres of endeavor are many, so the types which disclose a scientific and engineering trend are many. Still No. 17 possesses the pen traits which are in common with those who are masters of com- mercial and other forms of engineering. Here stand out clearly the No. 17 regular positive flow, decided pressure, semi-angular, with each stroke well defined and clean cut. Logic, reason, clarity of thought and lancet- like perceptions are this individual's endowments. His low, small, acute letters jointly help this writer to make keen cutting analyses and gives an intense power of application. These qualities of mind in combination show that any mathematical problem would be easy to 4 50 The Psychology of Handwriting solve, any system to give the best results in the shortest time would be readily effected. And here again, if you saw his figures, you would remark that they were made in a sort of offhand manner. Not those of an accountant. No. 18 These are the leading signs used by efficiency experts apart from the angle in which the words are written. For the slant has nothing to do with a man's or woman's scientific ability. It is readily recognized that No. 18 was inscribed by a person where extreme care, precision and exactitude in writing are prominent features. The low letters are made in a mechanical fashion, while the acuteness betrayed is the revelation of a man with a diacritical eye which pene- trates below the surface and reaches the actual facts which supply Vesica, ^ \-£> No. 19 scientific proof. Such writers devote their energies to electricity, biology and cognate subjects. In fact any one can recall that Thomas A. Edison displays these inky characteristics. These letters bear a strong resemblance to print. The curvilinear style of No. 19 flaunts an intellect and tendencies which would be active in any field of work except science. So it be- Psychology and Commercial Life 51 hooves the wise employer to select for positions where a scientific bent, routine and minute investigation are the requisites only such writing which is devoid of such excessive curves and will show like indications as referred to above. ANALYZING THE EDITORS Turning to the field where editorial capacity is indicated—and the types are most abundant—exhibits Nos. 20 and 21 show the chief No. 20 hallmarks pointing to efficiency in this widely maligned line of work. Notice that, though quite individual in form and style, still both possess marked continuity of thought, alert, observant minds with the ability for large conceptions, and fine, critical faculties. Here are the No. 21 fleet swing, the pointed small letters, with the strokes of long letters leaping high above the base lines. Rare discrimination appears. 52 The Psychology of Handwriting Excellent judgment stands revealed by the balanced spaces. There are the stiletto-like "d's" and "t's"—signs of an unerring mental touch in making a choice. The first one has a wider range of vision than the second. He sees his objective and flies right to it. The second is more deliberate and would weigh public opinion in many instances too long. Each is given the endowment of artistic taste. Each shades the down and cross strokes to some extent, the infallible indication of responsiveness to all impressions, to all emotions. But it is an intellectual or sensuous responsiveness. And the more pronounced these are, omitting the temperamental and emotions indications, the greater the editorial ability, pure and simple. Publishers, take notice. Editor, also, if you please. Now there are stenographers and stenographers! Nevertheless, it is interesting to find that No. 22, with her constant lively pen prints, ^U^- ^/z6e^ y^e £L No. 22 her straight base lines and small letters of nearly even height, closely reaches the peak of sincerity, straightforwardness, diligence, honesty and industry. True she possesses curves, but it indicates a willing disposition and an accommodating manner in taking dictation after 5-30. OFFICE BOY NOT FORGOTTEN Surely we must not forget the office boy, who may be a prospective financier. In the employment of office boys one must consider the Psychology and Commercial Life 53 adolescent muscles, half dreams. However, in the case of No. 23, on account of his rapid, sharp style, his high and positive "t" bars and fairly even pressure he is the sort who would tackle his work with diligence, show an intelligent mind, be observant and inclined to orderliness. '' God bless us! Is this possible ?'' you say. Yes, his script rushes ahead—restlessness. But note especially his clear though slightly variable punctuation. Later such a writer with encouragement would handle the files correctly and see that letters were mailed on time. "Good heavens!" Again yes. And certainly you do not wish for laziness and stupidity. So beware of the extreme backhand, with heavy, rather muddy writing and a changeable base line when you seek for a reliable boy. In this connection it may be said that apparently numerous excep- tions will be found to those described heretofore. Still, close examina- tion of these exhibits will furnish definite and accurate clues for the selection of such associates as will prove reliable and desirable as the years go by. To employ individuals without the psychological test is liable, as it has been shown many times to be an expensive proposition in com- mercial life as well as elsewhere. Unlike other methods, the signs appearing take on the reflections of mind, body and soul. And to make 54 The Psychology of Handwriting a correct interpretation requires a study of men's and women's tout ensemble, collectively and individually. We are approaching a new era in the business world, and this era is that of common sense. If I were a statistician I would wonder how many of the readers are gifted with this trait. CHAPTER IV REPRESENTATIVE MEN IN THE UNITED STATES Representative men in the United States of America display pre- dominant features in various forms and lines of endeavors. 'iw -2***** a tZ^CSl^^Uy ^^ /fyL^t^ *~i&£ No. i. Steady energy, determination, with the ability to formulate big conceptions. Positive in holding his ideas in toto. Diplomacy is shown by the strong final extension of the last strokes of his signature. 55 56 The Psychology of Handwriting No. 2. With one stroke of his pen he declares his rapid mental processes. Virile, keen, accurate, resourceful and daring. Power of resistance. A director of men. No. 3. Calm, cool, deliberate. Self-contained and always using to advantage his intellectual powers. His mind controls his emotions. Emphasizing his lofty ideas as shown by his very high capitals. Representative Men in the United States 57 ^ArfCnt vr* No. 4. Strength, purpose, keenness, powers of observation and geniality. Sure of his motives and beliefs. Self-poised with initiative. Tactful under all situations. Capable. -*n^»-.i ff.iy Vj ^^q^C^q tA^UViu^-<- *v^ No. 5. Mental powers are in the ascendant, a vigorous imagina- tion with receptivity to ideas. Positive of his convictions, but not opinionated. Fluency of language shown by steady flow. Kind, sympathetic and adaptable to all conditions. Frank, generous, and a mixer with men. Personality is unique. No. 6. Rapid in thought and action, dominant, sure of his ground. Capable of analysis and proficient in making close deductions. Posi tive executive ability. 58 The Psychology of Handwriting No. 7. Decided, firm, energetic, with a keen, alert mind. Will to achieve is ever present. He knows his own powers, exhibiting the result-producing backward stroke under his signature. No. 8. A positive, emphatic nature, with decisions made by accu- racy and definiteness. Convincing, thorough and to the point. Self- assurance, control and will power are evident. No. 9. Mental and physical equipoise, initiative, good judgment and calculation. Ambition is emphasized by firmness. //22%^ No. 10. Keen perception, shrewdness, perseverance, with large ideas. Practical and independent. Adaptable to people and usually tactful. Reserved but agreeable. Representative Men in the United States 59 No. 11. Poise, determination, ability to weigh the pros and cons. Analytical, skillful, resourceful, systematic, with a master hand at details. Executive sense reinforced by calm judgment. Fairness and justice. {ftudbudmA) No. 12. Marked continuity of thought, caution, self-control and reserved power. Perseverance, vigilance and fortitude. Imagination is practical. /£ No. 13. Daring, frank, enthusiastic, thinks quickly, with keen- ness and shrewdness. Handles affairs to the smallest detail. Strong, generous, aggressive character, 6o The Psychology of Handwriting No. 14. Great powers of concentration, continuity of thought, ability to arrive at decisions. Intellectually aggressive, with caution. Critical and quietly enthusiastic. Modest, frank, and generous. Facts appeal scientifically. ^OM $/ fr*^r No. 15. Strength of purpose. Directness in action, quick mental powers, independence and perseverance. Optimism and physical buoyancy combined with courage. A dominant man. \fj tHl/l*? sCfL>i*sCy'/' . SAAyT No. 16. Powerful reasoning faculties, clear vision, foresight and perfect application. Balance, patience, coolness in emergencies. With courage, self-esteem and mastery of himself. Representative Men in the United States 61 frJei /fa>6ZZ+- . ^^J-*-*-*-*-*-****^ *4L r**^-^. rt- 7 &&> &&r£t£ ifr^ TOTALS' tfa^r No. 29. 66 The Psychology of Handwriting No. 30. ^Jp.i-'f No. 31- 3*9^ Mjiaa^%xjp / / No. 32. No. 33. Wo. 34- Representative Men in the United States 67 THE SECRETARY OP" WAR. WASHINGTON. •~z attest 4k*- ^1^c^^.' /Za &^v*^C+s^c 1- jNb. 10. Executive Bank Accountant, Standard Forms of Executives 87 No. 11. Secretarial Executive, (a) ^Un^ No. 12. Secretarial Executive, (b) J No. 13. Educational Executive. Mo. 14. Promotor-Executive. 88 The Psychology of Handwriting In the administration of justice there are numerous forms found, but they can be accepted as authoritative. The signs most easily noted are virile connections, with the writing poised and sharpened at the top. No. 15. Executive Judge. No. 16. Executive Jurist. CHAPTER VII COMMERCIAL types In the class of Managers, Salesmanagers, and Advertising Execu- tives are writers whose script-signs are very similar. Observe that there is a firm, flowing, rounded style, sometimes vertical, but the writ- ing is not very low. The capitals are usually twice the size of the small letters. Where many flourishes abound, then also is self-importance and conceit. When the long letters extend quite above the line, a big commercial imagination is in evidence. Strong, steady writing em- phasizes a person's ability to influence others tactfully "and convincingly. Those following are typical of those who understand management and are able to sell successfully. No. I. Advertising Executive. 89 90 The Psychology of Handwriting No. 2. Advertising Executive and Salesman. No. 3. Office Salesmanager. No. 4. General Salesmanager. No. 5. Salesmanager, Salesman. Commercial Types 91 No. 6. Managing Editor. RICHARD H.WALDO H9 West 40™ Street New York City 'wuJfa 4cJLr{%' 7y<*h 4i /£JL^1mUJi No. 7. Circulation Manager. 92 The Psychology of Handwriting \^UM^/^^^ No. 8. Advertising Director. The joining link between managerial ability and that of salesman- ship is a close one. Managers are usually recruited from the sales force. Salesmen have similar pen-strokes who are able. The uniform firm swing, with quite tightly closed writing and rather high looped exten- sions above the lines. Imaginative faculty, but controlled! Always the energetic type. IfahtA/- No. 9. Salesman. *=f mm— ^cut<7^ No. 10. Advertising Specialist. Commercial Types 93 (/Si *-o Jli^^—*^ No. n. Salesman. *h&cL/ JfiHtJl. & No. 12. Sales Specialist in Designs. No. 13. Sales Specialist in Art Lines. The choice of reliable employees who have business capacity, able to serve in the accounting departments, handle figures accurately, as credit men shrewd, responsible, all these belong to a certain handwrit- ing class. The script is medium in height, legible, neat, margins even with equal spaces between words and lines. Punctuation exact. High capitals accentuate confidence and ability. Too many flourishes betray conceit. When the writing is pointed at the top, keenness and suspicion are indicated. 94 The Psychology of Handwriting No. 14. Expert Accountant. No. 15. Bookkeeper. \jr No. 16. General Auditor. _^- it ^u^y £**t~»*.^_*4L-<_«Ji£c _ jf^T,.,^ /nn Arv4»-*j ^^ £&*«£ No. i manoeuvres were so well planned that he could hold up the government as it were, to stand by and deliver. The rigidity of his down and cross strokes, with vital, forceful connections, unfold his intensely active mind and moral hardness. But the deviation of the second line at the bottom and the rapid sharpening of his low letters at the top are bold symbols of ruse, cun- ning and utter deceit. He has the fine Machiavellian hand, able to worst his opponents by the most skillful knavery. Like my "friend," the man higher up? Yes. Is there a single letter open for inspection? A free, untrammeled stroke making for real human sympathy? There is not! This type has endless schemes to advance and puts them through. But keep silent! Undoubtedly many a detective may disagree with these observa- tions, only his eyesight and power of analysis might be defective, and having some client of this rank who did not write like this one may be peeved. And there you are. ioo The Psychology of Handwriting A SENTIMENTAL CROOK One would instantly remark that No. 2 is totally dissimilar to that preceding, both in pen-gait and, especially, the upward curving final strokes of some words—the sign of courage. Most certainly! The courage to rob a government of nearly a million dollars and get away with it. This nice old gentleman, with a smile as bland and fixed as No. 2 Foxy Grandpa's, and his genial rounded script, was sentimental. He slants to the right at an angle of at least 45 degrees, and in consequence his deeply affectionate nature led him to confide in his stenographer, who carelessly left her a's and o's wide open above. Naturally she had a near and dear friend who also talked. Thus, despite the writer's extreme caution and even usually deadly silence on financial matters, shown by the encircling stroke around the " Y" in "you," like the man who swallowed a cent had to pay ten dollars in interest to his physician, this writer was diplomatically informed that he had to make restitution. For in those good old days, High Finance did not trouble itself with any method like the psychology of hand- writing to gain protection. By very close examination you will note the resembling signs of these two types of gamblers. Likewise. No. 3 is groomed with the same kind of pen-clothing, although this specimen was written by one whose income would hardly warrant his being addicted to shady transactions. But in these days of Detecting Dishonesty 101 unquotable profiteering, his dividends diminish with his courage. As he writes a weak hand and either short-stops his finals, or lets them drop No. 3 downward, he resorts to cunning and chicanery to get even with the tax Officials. Observe how even his undulating base lines lie, and how he whittles to a point his low letters uneven in height—craftiness! By these same tokens he is devious in all of his methods, taking a delight naturally in any deal. The undercurrent of excitement and high stimulation, for he writes quickly with high extensions above the line, would rush this person into the stock market and the race track. Big stakes, sweep- stakes, or any stakes at all! Of course, with these varied classes mentioned, there are numerous other types connected, who rank from the clever, fascinating female spy to the yegg man, the counterfeiter and others lower down in the scale of questionable livelihood. So, in the acquisition of money when the individual is given another impulse than straight avarice, or has mixed motives and diverse inclinations, to boot, then the writing takes on other forms which are distinct and have to be considered in order to find the reasons why the crooked strain becomes predominant. No. 4 reflects all the tendencies which impel the writer to seek for luxury, coupled with a canny understanding, native buoyancy and brilliancy. This was penned by a woman who belongs to the class called spies. She was, and may be still, an internationalist. She has a vivid personality, fascinating by her sheer vivacity and gift of language. How rapidly she swings along with excellent and well-made connec- ^ 102 The Psychology of Handwriting tions. Her hand inclines upward, as if to say, "Ah, there, my honey!" and never mean it. PLEASURE IN DECEPTION But she writes almost vertically in parts as well, significant of a shrewd mind actually in control, of cold calculation, of pleasure in deception. One look will convince that she also has the same signs of utter crookedness. She also adds the dashes of extreme caution after some of her words. Smile with a lie in her heart maybe, smile with a lie on her tongue just to secure what she temporarily craves—excitement, cards, luxury,—luxury always—and the hectic life. And her frequent slant with only one open at the top, the way that leads to her heart! One man only could really hold her, and for him she would sacrifice everything, would stop at nothing to get him wealth, even to the last throw. She stretches out the word "seen" and how great is her diplo- macy! (A cosmopolitan hand.) And it takes but the use of half an eye to see that No. 5 was written by an honest, clear thinking, clean-living woman. Many are these even though they vary somewhat in one pen-particular or another. Her script runs perfectly straight at the bottom, her pressure is uniform throughout, showing that her word is always good and that honor and sincerity are marked qualities. She is self-contained and does not go off into temperamental rages. She bars her t with decision while each Detecting Dishonesty 103 ^ y^* No. 5 extended final stroke inclining upward throbs with a deep sympathy and strong moral courage. A poised hand you say. Yes. And some contrast when you come to think of it! '' Now man is something like a sausage, Very smooth upon the skin, But you can never tell exactly How much hog there is within." Thus writes an observant cynic. Perhaps he did not consider that hoggishness is one powerful inclination prompting the individual to steal. The type abounds, alas! In addition to his avarice, No. 6 by his distinct concentrated style, very low, small letters and cautious finals, proclaims his proficiency to No. 6 rzfc^L—^-6 think and act in devious, almost Oriental ways, and to plan under cover so effectually that others as well as himself may evade the law 104 The Psychology of Handwriting Note that he, too, carries in his written aspect the display signs of craftiness and vulpine cleverness. Such might easily be some lawyer who frequents the capital of the State, the lobbyist who has a very understanding mind and a useful disposition. In such instances sus- picion is justified of her children. And among this fraternity are others who write large and fulsome hands, but then they are not so especially gifted. And here with Nos. 7, 8 and 9 are exhibited three types of stool- pigeons—first class as to efficiency, each one showing the dominant weakness which is at the root of their crookedness, the meanwhile ac- No. 7 centuating their inherited proclivities. Take No. 7. He reveals a straight hand apparently, plodding and almost print-like in its forma- tion. But his exceptionally heavy vulgar shading patched to the other strokes, flashlights his utter and uncontrolled desires for dissipation and vicious living. His curves are those of a dangerous beast, though quite intelligent. You can catch the scent in his pen regular irregularities. Sharp, his pin-pointed down-strokes below the lines bristle with hog- gishness. Not one upward final stroke—detestable with moral coward- ice ! A lounge lizard or worse. One who would steal under direction whenever he had the opportunity. He is the kind who never travels alone, largely through fear. His companion, No. 8, is more or less on the jump, more alert as appears in his fleet, somewhat jerky style. Yet, how weak are his words in their uncertain movement, in their occasional smudging! Detecting Dishonesty 105 He thinks quickly but with some hesitation. His t bars vary—his will varies also. Some of his final strokes end in a hook, betraying a deft No. 8 hand which would fly into your pocket and out again with the contents, instanter! This sign, even when considered alone, shows the possible rabid collector of scarfpins and watches. A smooth article when it comes to women! Easily influenced by minds and personalities cleverer than his own. Again, one would hardly think that the writing of No. 9, slow, labored, sluggish and forced in its movement, even though compara- tively regular and straight, is that of a man who under the influence of No. 9 a drug is swayed to dishonest actions. Naturally he has a slight tend- ency to dishonesty, but it was held in abeyance by other and stronger traits. For instance, his clear t crossing which is still firm. There remains a fragment of decency and honor, but it is almost submerged. 106 The Psychology of Handwriting The sharp down stroke of "d " in "mind " discloses his irresolution, his fear. So, stimulated inclination has grown into a fiercely vicious state, which has brought him at last to live as a procurer, the lowest kind of thief. Degenerate in mind and body. FEARLESS, BUT DEGENERATE The connecting link between this writing and that of No. 10 seems very slight. However, both ply their nefarious trade, picking their No. 10 gains from their victims regularly. But in the case of the latter, the wide-awake, alert, bold swing with its gross and heavy pressure signifies a man who will dare anything and everything to gain satisfaction. His tentacles, like the human devil-fish he is, are thrown out at the end of nearly every word to seize his prey, and having the ascendency, they will enslave these into oblivion. A common type of the slave trader. One who is usually efficient until caught with the goods, and then he would crawl loathsomely, after he had made his first bluff. His is a confident handwriting. His advertising signs are the same as others. An odd trait is shown in his use of the Greek e, indicative of an intense love of beauty and a desire for material improvement, at least. An inherited tendency sign, with- out doubt. In the last century there were '49ers who worked laboriously to attain wealth and affluence, which they spent with lavish hand. And the gold diggers of to-day, in large centres especially, employ their wits, "charm they never so wisely," adding to their loot from callow youth and senile'' dementias'' and aged gallants. That they dig with eye and Detecting Dishonesty 107 voice, with other fascinations, is in part temperamentally depicted, in part incidentally, shown by illustrations Nos. 11 and 12. No. 11 Here the first smiles coldly in her rapid flow, the even spacings be- tween lines and excellent connecting strokes and cautious finals show- ing that she is a clever business woman. As she in carmines her lips, so heavily does her shading stand forth, announcing shamelessly her devotion to excessive luxuries, to foreign pleasures. Her wits are as sharp as her pointed low letters. Her desire is to gain, to spend, to spend and gain again, which she accomplishes without any compunction. No. 12 CRAVES MONEY The second through blinded folly and an intense overwrought imag- ination—see the wild erratic loops above the lines and a similar though varied application of ink—is frank in her desires for all that money will bring. She renders willingly unto Caesar the things which Caesar de- mands—if he will pay the price for a new mink or sable stole and muff. 108 The Psychology of Handwriting But why pursue the twisted paths of these two, and others who write like them, any further? Electric lights under certain conditions pro- duce blindness. However, we can readily reserve our sympathy for No. 13, a woman who, by nature, possessed an active, clear mind, a bright intellect, but Ycr (f^jdc^ cy> IflM^:fc+A^l"- No. 13 with an undercurrent of odd perversity which, through strain on the nervous system, became the dominant trait. She developed into a kleptomaniac, robbing right and left with apparently no control over her actions. She wrote this after she began to realize the peculiar twist in her make-up. Consider how her script runs straight, and then varies with waver- ing lines. True, she is keen witted, as the pointed letter tops reveal. But these are to some extent exaggerated, becoming the symbols of cunning. She lies and then tells the truth with frankness. Her words are not written with an avaricious closeness, and selfishness is absent. Under a lens there would appear a decided number of irregular quivers, some of which are visible to the naked eye. The depression of the lines at the right denote her bewilderment and melancholy. She realizes that she is face to face with a terrible situation. As an exhibit it is illuminating, and conveys how great a problem it is to determine the real motives of people, unless their physical states of mind and body are taken into consideration. Thus from observation and fine analysis it is discovered that kleptomaniacs have some disorder which is at the seat of their peculiarities. Detecting Dishonesty 109 To kite checks is a blamed nuisance to depositors and bank em- ployees alike. Also to be able to pick out the writing of one who will tamper with his ledger, falsify and juggle accounts, is not the easiest thing in the world. For accurately to separate the distinctive signs of the types demands at least a discrimination in the use of words. To all intents, No. 14 inscribes a well poised hand, careful and exact, meas- uring up to a copperplate style. Yet this individual's greed and desire No. 14 to get money and more money is reenforced by his finals, some abrupt and some absent. His intelligence and judgment are present, but back of these are the impulses to get all he can, no matter how. For the time he would be able to cover his defalcations. But, having an uneven and irregular pressure, he betrays his natural weakness ol will and would break down when charged with his crime. He would be likely to over- look some minor detail—and he did. His vacation was limited to a term of several years. Not far sighted enough to be really efficient. THE CHECK KITER With No. 15 appears the type of man who, urged by his excitable nature and fiery conceit, thinks that he could make a killing in the stock market and get away with it. He would kite checks! The wild sweep of his looped letters on the first line displays his imagination running riot, especially as the other hallmarks of deviousness are found. Many ot his letters hug themselves together as if they were chilled with the fear of loss. His finals curve high in the air, over-self-confidence and an inflation of his ideas. Hence, with these tendencies, he finally succumbed through his no The Psychology of Handwriting belief in his great financial ability, and appropriated securities right and left. This likewise was written a short while before his dealings were uncovered. Rather a nervous T, is it not? Fortunately he had No. 15 lenient associates. The last word heard of him was that he was operat- ing tout for a bucket shop in one of our large Western cities. At this point it is evident that No. 16 is a weak member, inefficient through a lack of stable character. And being endowed with this, if conditions were favorable he would "crook" in a petty fashion. The cowardly pilferer who runs to cover, usually attempting to "pass the ^-. en*- ^u^C-^/ No. 16 buck" to one of his companions or subordinates. The word "inst" at this writing shows his uncertain and worried state of mind. Among special types who graft in politics, who collect commissions on the side, wiil be found numerous illustrations resembling, wholly or in part, his writing. In like manner, the muddy, vulgar aspect reveaied by No. 17 places this writer in high regard among thugs, gangsters and others using Detecting Dishonesty m brutal methods to get their pelf and swag. You can be assured from this grossness and the other thief-signs that this person will be an adept kA No. 17 —the same as others writing in a similar style— in rolling pills, dispens- ing "coke," forcibly extorting blackmail from both women and men. Should your acquaintance extend to the gangster type, I suggest that you take a good look at their script before engaging them for positions as chauffeurs, mechanics or even gardeners. REVEALS THE COUNTERFEITER The marked unlikeness of No. 18 to his fellows in shady adventure sets him apart almost in a class by himself. You notice how minutely No. 18 he forms his pen-prints, as though his mind was needlelike in its fashion of applying himself to his job. You can picture him with the H2 The Psychology of Handwriting blue prints, the metals and dies—a press—turning out with rare skill counterfeit money. His high disproportionate capital "H" shows that he would succumb to the influence of a flattering and cleverer crook. His compression of style means his cupidity is on the rampage, and it is ravenous. In no sense a strong character with initiative! His writing is feeble and of a delicacy resembling the fine instruments he uses. A deviation from the normal and the paths of rectitude in many cases is due to excessive emotional and uncontrollable outbursts. So M lltit km ihhK No. 19 No. 19 depicts in his peculiar and rather extraordinary scratches an unbalanced nature ready to take almost any risk in dissipation. Every down stroke is replete with cowardice—moral and physical. This is the type which readily becomes a victim to the daring criminal, one who would pay any price to escape notoriety or any sus- picion of irregular living. Among this class are some women who, fearing an expose, "give up," through fear and an inability to hold themselves in rein. So the companion piece exhibited in No. 20, No. 20 Detecting Dishonesty 113 manifestly of a distinctly different style, calls out that the individual is one who would use force—a quiet force—to make an emotional and flighty person yield to his demands. He would accomplish what he set out to do, smoothly and with reckless confidence. A mental con- fidence! He writes with vigor and determination. Money first and always would be his object. From my experience with these human exhibits and countless others traveling the same way, large or small, proficient or mere trailers in the wake of crime, I find that no one class of society is exempt from furnish- ing its quota. In fact, luxurious surroundings, indulgent parents and friends and too liberal allowances of money help to intensify into action traits which otherwise would be held in abeyance. It has been asked what percentage of human beings possess crooked traits. From collected data, I regret to say, about 85 per cent. Rather staggering, is it not? 8 CHAPTER IX CRIMINALITY In connection with the method of detecting criminals, there are certain types that disclose specific hand-movements which distinguish their unravelling qualifications. To ferrit out and apprehend persons who belong to the criminal classes, confers a peculiar ability. Con- fidence, force, energy, shrewdness, alertness, judgment and resolute purpose are in evidence. Hence, the signs are positive, specific and clear. The writing is firm, steady, sharp, with emphatic strokes and bold t-crossings. Letters are usually pointed at the base lines and at the top, and fairly well-closed. Final letters end abruptly with downward strokes straight below the lines. The lines are well-spaced with good margins. Capitals are large, high, assertive and frequently flourished. Combine these signs and it is easy to interpret their meaning and value. And in view of this, observe that the individuals who have inscribed their pen-personalities, stand forth in their own especial niche and place in the country. 114 &U^ /7>y vz£r<*^j(, J^X^L^^e. Mv /j J ^£~* ~~~ MZ~ ?f ^ '"'■' *~**~( sfvytf, AVW /h**^- yz^^L. ^ No. I. A strong mind, will-power, determination, with keen perception and reserved force are shown. Admini- strative ability is indicated. u6 The Psychology of Handwriting No. 2. Intelligent, acute, far-sighted, cool and wise. The skill to plan and execute with a fine sense in arriving at conclusions. No. 3. Daring, courageous, resourceful, and wide-awake. Asser- tive and self-confident, Positive type, Criminality 117 No. 4. Executive-manager type who has keen penetration, is level-headed and calm under all emergencies. Master of details of criminal records. Weakness of character is measured by the absence of moral traits or they are twisted. The indications are readily disclosed. Thus, dishonesty shows undulating base lines, small letters of even height and size, with a's and o's tightly closed. Finals are cut short. Cunning and ruse are intensified by the writing pointed at the top. M's and n's especially. Theft merely adds one other sign,—hooks at the ends of words. Gunmen, hold-up men, murderers all exhibit a heavy, coarse, changeable, illegible style of script. Capitals are irregularly made with eccentric flourishes. In most cases, the hand wavers in forming numer- ous tremors, the indications of the use of morphine, cocaine, heroin and what not. They are known as "dope fiends" or "snow birds." Crimes are due to lust, passion, lack of money, revenge and hatred. This criminal directory contains specimens of writing and signatures. Note as follows: C stands for Crook E F H M " Embezzler " Forger " Hold-up man, robber " Murderer, gunman " Thief, pickpocket ,:^\u^(K^ <^} ouor* No. 1. T. Thief, pickpocket. 118 The Psychology of Handwriting No. 2. E. Embezzler. No. 3. C. Crook. 6 No. 4. C. Crook and white slaver. No. 5. C. Crook. Ma^t ;4^ Jfif ^e4'/&L &&-fn No. 6. C. Crook. Criminality ll9 No. 7. Forger. No. 8. Forger. No. 9. Hold-up man and robber. No. 10. Hold-up man and robber jQ \*yvtASUs[ .^A^^^WiZ^/ No. 11. Hold-up man and robber. No. 12. Hold-up man and robber. 120 The Psychology of Handwriting No. 13. Hold-up man and robber. <7&0*>+*£ No. 14. Murderer. O-r^f^- THtw+^fy No. 15. Murderer. No. 16. Murderer. No. 17. Murderer. No. 18. Murderer, gunman. No. 19. Murderer, gunman. No. 20. Murderer, gunman. No. 21. Murderer, gunman. CHAPTER X SCIENCE Science in the realm of hand-movements in writing presents a series of strokes which are plain. In nearly every instance, the usual style is fixed, while the connections are original, and the small letters are low, pointed at the top, needle-like. Individual letters often formed similar to figures or printed, again like musical notes. There are angles more than curves, a prominent feature. It requires analytical skill to differentiate the types of minds which lean toward one phase of science or another. Still, the hall-marks cover the fields of science, research work, medicine, surgery, engineering, or chemistry, or what not. No. i. Mineralist. No. 2. Anthropologist—Signature and circles show uncommuni- cativeness. 121 122 The Psychology of Handwriting No. 3. Ethnologist. ^ya-t No. 4. Mechanical Engineer. ^ i£.U.ft^JL a>/ ^yttpJLU/^aUS) ^^ &a&Ju*&Cu ^ S *4aL> J'A'i+t. &sa%L tyiA/ir y No. 8. Expert in Electricity. ^Ji^yUM. No. 9. Chemist Specialist. JX**-" afU No. 10. Technical Engineer. 76.7^,7^0 No. 11. Explorator type, Archaeologist. The Psychology of Handwriting 12. Surgery, Specialist. 13. Surgery, Specialist. CHAPTER XI EDITORIAL AND LITERARY STYLE Editors are numerous, but in one aspect, they all display an ap- pearance which is characteristic to one degree. Each individual has his own style, his specialized capitals, but the lines are well-spaced both above and below, letters low or very low and sharpened at the top. Where the writing is partially rounded with some letters dis- connected, then a keen value of new ideas and fresh conceptions is de- noted. So, those who act in this capacity are apt to take the initiative in following their judgment. The individuals who are here exhibited will be both efficient and productive in their capabilities. The series are so numbered that the reader is enabled to gauge the qualities of the writers by following the directions specified. &>*. No. i. Finely poised, keen, positive. 125 126 The Psychology of Handwriting J^€J^r^T7S) Tides' No. 2. Mental force and energy. Imagination. No. 3. Creative ability, shrewd, energetic. No. 4. Large conceptions, managerial ability. No. 5. Alert, intellectual virility. No. 6. Literary insight, concentration. Editorial and Literary Style 127 No. 7. Clear thinker, calm, No. 8. Intellectual honesty, decisive in opinions. wide view-point. No. 9. Analytical mind, cautious, virile principles. ^fc^ No. 10. Competent, resourceful, sharp perception. ^k^«~. /Y^/P^o No. 11. Versatile, big conceptions, foresight. /# ) J**4**A.+ fk^jZ&rt No. 12. Mental alertness, execu- No. 13. Artistic, imaginative, tive ability. versatile. 128 The Psychology of Handwriting ?*~*'jiu . C^t^. **7 No. 14. Wide vision, broadmindedness, executive sense. No. 15. Shrewd, quick active brain, broad, positive. No. 16. Continuity and intense application of ideas. Editorial and Literary Style 129 No. 17. Vivid imagination, creative faculty. No. 18. Acumen, keen vision, original ideas. No. 19. Analytical, critical, sure, reserve force. 9 CHAPTER XII literary talent Sensuousness is the quality every one possesses who has artistic appreciation and taste. The chief features are to be noted. First, the shading of the down and cross strokes are frequently pronounced, re- vealing an intense love of beauty in all of its forms. Second, the script is unique, original; connections are well-made, lines not interfering with another, while breaks take place between some of the letters. The upper portion of the long letters extend well above the lines. Generally the capitals are artistically formed, curved, printed or oddly constructed. A distinctive type is that of the small "d" where the final backward stroke curls to the left above the stem of the letter. Often the Greek "e" appears. The rounded form of "w" and "n" shows talent for writing verse. Now the members of the group here exhibited, have all the hall- marks which display literary gifts in one direction or another. No. i. No. 2. 130 Literary Talent 131 No. 3. No. 4. W^&lufc (Cua/*uf- No. 5. uhMu^&U^i/iuj^f^^^^ ss^ 132 The Psychology of Handwriting No. 7. tA/vuil IjbJ^ -R I 6 tJUU\ Cc^^.i | . No. 8. No- 9- . /[^j^t^W^^^ No. 10. No. 11. ^^S^^^^*5^^ No. 12. Literary Talent 133 i 3. ^ i iln di 134 The Psychology of Handwriting No. 14. £**Ct KtzLj No. 15. [faO tuXCc ifp**^ No. 16. A\M^aUaa€\a^ iJu+j/Le- a\^ No. 17. No. 18. lflVcU#t(«j<}«^f No. 19. j k J?a^: Literary Talent J35 No. 20. No. 21 G*C No. 22. 4u&^ Qrvuv^" No. 23. ^b kk d fhyvm\\^o 9^ fouhcLUf, 192», No. 24. CHAPTER XIII ART, MUSIC AND THE DRAMA As we approach the realm of art, where color, form, music, and the drama hold sway, the evidences in any of these classes are distinct. They differ largely in the manner in which the shading of the strokes is made and the fashion of forming the capitals. Generally speaking, the heavier the shading of the down strokes the greater the appeal to the sensuous side of existence, while the lightness or thickness of the cross strokes denotes the degree of susceptibility to everything that appeals to the senses of sight and hearing. Hence, individuals who are especially responsive to beauty and art are inclined to shade their cross strokes. The greater the sensitiveness, the lighter these will be. By observing, then, the varied forms the capitals exhibit and the method of shading, it is possible to learn in what line of artistic endeavor a person is liable to show talent. When genius and gifts for painting or sculpture are given, the pen- formations are plainly indicated, as follows: The script is harmonious, often bizarre or original, the down strokes heavy or shaded, with capitals graceful and artistic. Sometimes, these are similar to printed designs. By an examination it is possible to determine these pen-personalities who are "hung" for selection according to their genius. In order to show how a man has a writing marked with spiritual strength, he also reveals that he was well-known as a landscape artist and particularly deft at water-color design. Here his wide spacings between 136 Art, Music and the Drama *37 words and letters denote his single-minded and liberal attitude toward everybody, despite their failings. It caused him to forgive and forget, and in the exhibition of this spirit to be generous almost before he was just to himself. His vertical style signifies that his mind and heart No. i. are equally balanced, which is modified in this particular by the lightness of the down and cross strokes—symbolizing purity and great spirituality. It increases his affection towards his fellowmen. In both phases, both intellectual powers and application are utilized for his art, as his connecting strokes, height of his small, rather low letters, with large, looped l's in combination denote. His style is in equipoise of character and ability. ^DSe o Weil No. 2. 138 The Psychology of Handwriting No. 3. No. 4. No. 5. KW h '4 No. 6. Art, Music and the Drama i39 £^UL\se-*l^-^ No. 7. K ''iAcJZ No. 8. No. 9. 140 The Psychology of Handwriting *!teu4,^ 14) No. io. No. u. Art, Music and the Drama 141 flkj^$rd£*wy ¥Uff No. 12. The leading signs which show a talent for sculpture are pen-forms uniform, more or less original, small letters are comparatively low, with down and cross strokes shaded. No. 13. T42 The Psychology of Handwriting fc^-Cu^ No. 15. Music is the one art that appeals to the ear, both voice and instru- mental. It appeals to the spirit, to the mind and the soul. And we feel its effects without any special effort. So, with the sense of tune and rhythm, there is the rounding sweep at the bottom of the letters that reflects a keen ear for melody, and the shading,—musical sensuous- ness. The capitals are graceful, curved, and strongly and artistically shaped. Melodious expression produces a gliding motion, with cross strokes shaded. Harmony and technique will present sharpened forms at the top in addition. The talent will appear where the artist shows also force, perseverance and will-power. The hand-movements are firm and vital. These few represent musical talent and even genius. Art, Music and the Drama 143 L/7u IHaji Atfo 1 CUQJlAi No. 16. J* No. 17. 144 The Psychology of Handwriting No. 18. •fles-Je J**«l No. 19. Art, Music and the Drama 145 And in like manner, the signs of dramatic talent are clearly indicated. The predominant features are the size, form and shape of the capitals. Large curves are numerous, especially. Observe that the connections are free and extensive. The script is flowing, with universal use of cross and down strokes which are shaded, showing the responsiveness to color, light, music and beauty. There is an irregular wavy move- ment of the base lines, sometimes sweeping in an arc formation. The combination of capitals together with the undulation of the lines represent the qualities which individuals possess, and whom the drama as a profession calls,—those whose mental propensities cry aloud im- personation, pride, independence, love of approbation, self-esteem and the desire to succeed. As we regard these written personalities, it is easy to see why they are individual. 10 No. 20. H6 The Psychology of Handwriting No. 21. ~7 . <^<*o No. 22. Art, Music and the Drama 147 ^t-*o*< /3^-^C^ /i^j No. 23. 7a\dL <:<£? No. 24. 148 The Psychology of Handwriting /%» *;%*■ {/^f-& /L^LA-oS No. 25. (Z/U./Lc&>l No. 26. No. 27. Art, Music and the Drama 149 No. 28. CU<- 4i^u^n^^^ df- c7/ut^ UM71- d,. /La ^JLas\ No. 33. » % (ft*/ / ^r^ No. 35. CHAPTER XIV REPRESENTATIVE WOMEN TYPIFYING OUR AMERICAN STANDARDS AND IDEALS They present their strength, courage, mental powers, capacities and abilities, as are revealed in their pen-signs. As self-evident the types and styles are symbolical of American citizenship in the same fashion as the script written by men. No. I. Genial, frank, straight-forward, her nature is hospitable. She understands her own mind and has the desire to express her ideas. Positive but enthusiastic. fe tf~2^<-^*s^- S^JcA^ytA^eX. LA fl-fr^c**-^ >P~Z^ ^J^ly^^AA^ No. 2. Firm, strong, well-balanced, the writer has a keen intellect. Steady purposes and motives. Logical, calm and collected. Her executive ability is clearly shown. 153 154 The Psychology of Handwriting - s?>*~£c*~~-TS No. 8. A strong, decided, far-sighted nature, with a vigorous mind is shown by this writer. Dominated by her beliefs and conceptions, she will use them definitely. High-minded, is her main trait. 156 The Psychology of Handwriting No. 9. Pride, independence, great vitality, intensity are reinforced by a lively imagination and courage. She is idealistic but has great common sense. She is energetic, plus! No. 10. A dominant personality, with a quick, logical mind, in- telligence and great activity. Original in her views and stands pat under all circumstances, she believes that she is right. The promoter type. No. 11. Poised, active, a strong will and determination are in- dicated. Her mind is keen, analytical, and capable of great work. Has executive power, with a mastery of details. A practical common sense always revealed. Representative Women i57 <$£&-&. cw i<$^S^£7>lfa No. 12. For quick decisive action, will power, self-confidence, this writer is a definite force. Her mental faculties are sharpened by her personality. Her acumen is self-evident. Both executive and sales ability are pronounced. CHAPTER XV HER HANDWRITING For several years Mr. French has been engaged in a comparison of the handwriting of men and women. In this chapter he gives a brief statement of his conclusions. Woman is no longer the eternal paradox. Her evolution into the ranks of the procession displaying the world's varied achievements has not been sudden, but dynamically she has entered the lists, a strong and competent competitor of man. In the realms of art, music, literature and the drama she has pene- trated, talented, effective, and a producer. No phase of commercial, religious or even political life but feels the impetus of her personality which, so far as results are concerned, is acknowledged, grudgingly perhaps by some, to be steadily approaching the results produced by man. The eternal feminine, without the loss or charm of sex, is gradu- ally being translated into the positive, vitalizing energy of accomplish- ment. There is a scientific reason for all this. Handwriting is a physical gesture of the mind, no matter what the sex may be. This is due to the close relationship between the brain, nerves and the hand. The '' punch'' exhibited in the strokes of pen or pencil is the '' punch'' of personality. This is why one frequently hears, "His writing resembles a person whom I know." Talents and special gifts can be traced out. We all pigeon-hole our acquaintances by their facial expression, gestures or words, though all of these may lie. We can never be sure. The writing gestures are permanent records, because they do not actually change. I purpose showing that the qualities resident in men are also the 158 Her Handwriting i59 endowment of women—'' line upon line''—''here a little, there a little'' —irrespective of what some psychologists and neurologists may say; and sometimes they say some very curious things. From the comparison of illustrations to follow, the reader will be able to see that sex, pure and simple, does not necessarily appear in handwriting; for both sexes have to a greater or less degree the three main characteristics: will, judgment or logic, and passion. At the outset, to render a correct decision concerning the complete mental and physical equipment of any individual from script, a portion of the writing and the signature are necessary, as they supplement each other. What is found in the one is sometimes and frequently absent in the other. The signature is the keystone completing the human architectural product. Glance at Nos. i and 2 and you will note a like force, power and energy. The flowing rapid style, with uniformly firm pressure through- ly ~~ 1 -^ • *^\ G~4-s&£~^y 4&**^\T^ 'y-j No. 1. (^'l^^xfe^^ ^A^f /S^Jh-^^^u U>z^t No. 2. out, decisive t crossings and well-made connections of words and letters, show that each individual has will-power, decision, and the abil- ity to reason logically. The parts of the pen-forms balance indicating 160 The Psychology of Handwriting equipoise. Marked continuity of thought, analysis and concentration appear in the linking together of letters which are low as compared with the capitals. Both individuals sharpen their small letters at the top, signifying great resisting power. Both are dynamic in achievement. There is a saying that '' the bigger the individual the more striking the script." No. 3, by the vigorous, fleet, energetic style, large No. 3. capitals, and minutely concentrated small letters, with the extensions below the line of the long letters, pointed, as in y—gives the writer the ability to plan and execute, gives initiative, analysis and synthesis. The steady even writing shows mental balance and clean cut purpose. No. 4 is markedly different in pressure, the ink being differently distributed, and one or two minor signs of this appearing. Yet the tfgjZ&%zS£r~~* No. 4 same general hall-marks appear. The running dash and swing exhibit energy, while the connecting strokes and sharp form throughout reveal a live mind. Both of these writers are positive people. No. 5. Her Handwriting 161 No. 5 is a bit of the handwriting of John Purroy Mitchel. He forces his personality to the front; for his strong, positive, strung- together signature is as determined as his t crossings. He has power of application, and his reasoning faculties are always on the alert. Cour- age and daring are found in the pressure. If you will take the trouble to examine the writing of many a forceful oroductive woman, you will find similar signs. c/^t a No. 6. No. 6 does not seem to present the same value, at first sight. But the sharp bold script and high-flung t crossings denote the same general characteristics. The two styles of script in Nos. 7 and 8 seem strikingly dissimi- lar. Still, the mental traits revealed are similar. The woman is gov- StdLc^u- $X&^L> ^^^ No. 7. erned to a large extent by her affections—she writes at a slant of 45 degrees. The slope of 8 betrays coolness, caution, deliberation. Yet 162 The Psychology of Handwriting apart from the emotional side, both are endowed with the same amount of intelligence and capabilities. The woman's writing is light, but uniform in pressure. The well-formed connections and forceful t bars show that she has the courage of her opinions. High standards with good judgment appear in the exact even spacing and slant to the right. No. 8. She formulates her opinions for herself, and would not need any coach- ing if permitted to vote. The man pounds the page because he is the type who means business. The blunt formation of the down strokes denotes obstinacy and tenacity. His judgment is good. He knows because he thinks carefully before he acts; he hauls his words together evenly. He would be suspicious of any radical or new movement. Another who writes similarly recently said: "Women are butting in most indecently. I '11 be married in spite of myself.'' That women possess talent for music, art and the drama, equal to that of men, is clearly shown in Nos. 9 and 10. Note in each case No. 9. the original curves, the rhythmic swing of the strokes at the bottom of words, the signs of melody and harmony. The shading of all strokes Her Handwriting 163 is distinctive—denoting the appeal which art in all of its forms makes to them. The high curved capitals reflect temperament, intense and responsive. These capitals are found throughout "the profession" No. 10. with the undulating base line. The upward swing to the right, excellent joining of strokes, reflect intelligences which are dominated by ambition and the desire to achieve in a large way. Although No. 11 is distinc- No. 11. tively different in general style, you will see how forcefully the writer ex- presses personality. She joins the words and letters together—careful thinking and discretion. She deliberates before expressing her opinion. Her writing is unimpassioned, showing that emotionality is not her guide. It is upright. Her m's and n's pointed at the top, reveal a keen critical faculty. The literary "d"—found frequently in the handwriting of authors —appears! She could produce, if she chose, but not necessarily in an imaginative way. Her strokes above the line, the long letters—are not looped or very large. Her function would be to choose, to select with good judgment. No. 12 has the same elements but distributed in nW 164 The Psychology of Handwriting another way. The steady, even, vertical script denotes that the writer would exercise discretion, caution and care. He has the intellect to ^J-Trw^? /iLwv-1 <^1 a* >*£ ~%j &*#* point. This couple have enjoyed a tender relationship for many years. Where the writing is upright, in either sex, the other formations being similar, the individual, would be less demonstrative, especially if the final letters end abruptly. Should, by an haphazard of misfortune, the writers of Nos. 3, a man, and 4 a woman, or any who write like them, ever marry, or even contemplate it, they would fight like Kilkenny cats on the back fence. 170 The Psychology of Handwriting Woman of emotional type ' * {Specimen No. 4 These handwritings are as absolutely mismated as the individuals would be. Both have the slant to the right. But—alas! though this does denote broadly affection, so many other modifications appear, that it is lost in the fog of clashing traits on both sides. The man is naturally ambitious, straightforward and honest, shown by regular even pressure, straight lines and upward movement. Order and system are his strong points. He is immaculate in his dress, but he is as ob- The Marriage Relationship 171 stinate as a mule, with a desire to boss. This is indicated by the blunt ending of some of the strokes and the t crossings. The lack of sym- pathy appears in the last stroke of final letters, while the large, rounded capitals show conceit. His general style indicates refinement and education. Now if this individual should marry the writer of No. 4,— immediately there would be "wars and rumors of wars," as his whole mental trend and habits of life would be different from hers, even though she might be very attractive on the physical plane. Observe the halting, simple style without any marked character to it! Affec- tion is there—the slant shows that. Her will-power is almost negative, as the uneven pressure and t-bars indicate. It is not her fault that her sympathy would bubble over at every funeral she could attend. She would incline to tears readily, enjoy being delightfully miserable, which would naturally grate upon any man with a disposition like her husband's. The small o's being open at the top give her a desire to talk unnecessarily at all times. Household gods and goods she worships. But her sense of fitness would cause her to crochet tidies and cultivate wax flowers under a glass. A good salesman could sell her crayon pictures of her entire family, later to be hung with a background of wall paper of red roses and purple lilies. All this is betrayed by her general style. Her sense of order is lacking. Yet she would scrub hard. Emotionally strong—shading of letters and slope of writing—her devotion would be explosive, and her temper, as typified by the cross strokes, very fitful. Despite whatever physical beauty either of these, or any like them, might possess, their pen formations no more harmon- ize than in actual life their alliance would be blessed by congeniality. Now, should a woman whose script resembles that of No. 5 think of joining forces with a man who writes a hand like No. 6 it would be well for her to pause and consider! The same holds good as regards the man. Both would have set ideals with much sentiment. The slope again. In each, the pressure is alike, revealing force and will- power. The larger style and shape of the letters in the woman's hand show a tendency to rush things. Her capitals denote self-assurance 172 The Psychology of Handwriting Two of this class should consider such a step—carefidly. Marriage woidd ter- minate in restlessness and discomfort (.specimen .w 5 Dominant woman with idr-ds and lihr- ary tastes 6,^ K u^ J*— £~~«- /*^~<~ A~t - 'fr- j, •. > d r^~i^~ ">L- <+-<~ £*-»—« A A— Literary man with similar lasli (Specimen No. V) rather easy-goiii£ and a sense of importance, while the open a's and g's indicate that she would dominate in the expression of her opinions. The t crossing and blunt final letters signify her ruling capacity, despite the fact that she would enjoy a discussion of literature and art. Her energy is pervasive. With the man's script you find a tremendous power of concentra- tion. This is indicated by the small writing. The even pressure throughout, combined with wide spaces, betrays steadiness, a generous attitude, while the slope to the right without cross-bars, reveals a sentiment which makes for peace and calmness. The lack of harmony between these two would exist from the fact that her desire to forge ahead, putting her ideas into action, would clash with this peaceable The Marriage Relationship i73 disposition. There are no bold, arrogant cross-bars in his script. Any two of this class would get along provided each followed independently individual tastes and ambitions. They should agree to disagree comfortably. Kect«- •<* "- k*-^ J^ -tar- ^^cTtwu^l Facsimile of Mildred Cram's Handwriting stopping now here, now there, between words, she unfolds the process of her mind in pouring forth her creations. Reflective yet intuitive, she proceeds by inspiration, as though she had listened to some transcend- ent spirit who whispered to her the secrets of color and illusive form. And spontaneously she immediately understands the hidden meaning and then translates into life her intimate impressions. Curling up the corners of her mouth in the same whimsical fashion in which she twists backward some of her finals—she smiles or even laughs and finishes her ideas with rapid stroke and fleet application. For to her is given the ability to insinuate her way alluringly through her rounded, adaptable, pleasant nature into the hearts and companionship of others. And to her lively sympathies there is an undercurrent of eager ambi- tion, of a willingness to criticize her own ideas so that they will present to others their truth and simple accuracy. For her images are never distorted by any bizarre conception, by any flamboyancy that will Psychological Surveys 22: mislead by its temperamental suggestions. She thinks as directly as she carries herself straight in all of her actions. That she moves across the page with an almost transparent honesty is shown by the lines. No sinuosity or deliberate holding together her letters or words in too close liaison! So it is possible to say of her that she will ever give of her best and highest inspirations, reveal the inner processes and motives— candidly. When she throws her long looped letters high above the line —her signature—she says that she always intends to be intellectually honest and broadminded. "Most certainly, I have a little human vanity," she will laugh. "See how I stretch out my capital M way up in the clouds." Chirographic Survey of Monsieur Erte The dream life of a man wherein his dreams become virile clear realities is portrayed by the original and striking inscriptions made by ^^ Facsimile of Josephine Daskam Bacon's Handwriting with color and feeling. Her conceptions spring forth fully armed from a mental reservoir overflowing with ideas and surcharged with an elec- tric affinity which arises from a full responsiveness to beauty and simplicity in art. As she swings buoyantly on and upwards to the right, her optimism becomes accentuated by an intensity of affection for all living things. Penetrating into the secrets of living, her mental eyes are as sharp as her pointed style, alert, keen to discover any new beauty lurking within. When she ventures forth on any tour of adventure, her fleet glance envisages each bit of quartz, each hidden water-melody, each sequestered nook, so that they one and all become tremulant with life, glowing elements of the creations she intends to weave. And weaving deftly, powerfully, she is able to produce a fictional tapestry as perfect as her connecting strokes, as delicately shaded as many of her written 226 The Psychology of Handwriting words. But since many of her final letters sweep away boldly, sym- pathetically she enters into the human and divine spirit of the people she creates, making them vital and true to themselves. Her holograph, so well-balanced, so direct and positive, also indi- cates a decidedly practical turn. In a sense, she possesses a dual personality, comprehending the spiritual essence of things as well as the material. How lancelike are many of her upward strokes! Piercing the air joyously, her expressions and retorts are pointed, her language pungent. There is never any doubt as to her sincere attitude toward friends and foes alike. She emphasizes her convictions as firmly and logically —many reasons being openly given—as she brings down many strokes of her pen. Personal and sensitive pride in excellent achievement animates her conscious mind—her signature. Intellectually a Madame Sans-Gene when it comes to independence, there is no subject from flowers to cooking, from old men and maidens to young men and children, in which she does not take a real interest. Her pose redounds in a belief in healthful living—ever the means to her own development. A woman who lives as she writes, keenly human! Ji Selection from the Catalogue of G. P. PUTNAM'S SONS Complete Catalogues sent on application "Every student of human traits and qualities should put Himself in possession of tKis booh." —Boston Suburban. What Handwriting Indicates An Analytical Graphology By JOHN REXFORD Crown Octavo. Illustrated This is a practical hand-book of the science of read- ing character by handwriting. The special feature is a series of convenient analytical tables which demonstrates the significance of any trick or style of handwriting. "And a most excellent guide it is too, setting forth in comparatively few pages and with copious examples of handwriting the principles on which graphology is founded. As an introduction to the subject it is hard to imagine an easier or more sensible method than that which the author has adopted."—Chicago Record-Herald. " The book would be well worth the price if only for the numerous facsimiles of the handwriting of celebrated people, such as Horace Greeley, Julia Marlowe, Rudyard Kipling, etc."— The Bulletin. " The volume a good presentation of an interesting subject is arranged with greater system and accuracy than any previous work on graphology extant."— Journal (Louisville). G. P. Putnam's Sons New York London The Laws of Scientific Hand Reading A Practical Treatise on the Art Commonly Called Palmistry By William Q. Benham With 800 Illustrations from Life New Edition. 8°. "Mr. Benham's book is a wonder. By studying thousands of hands and tracing the careers of their owners—the famous and the obscure, the successful and the unfortunate, the virtuous and the base—he has mul- tiplied the proofs and then unerringly formulated the exact laws of nature as written on human palms. He has thus taken Palmistry -way from the fortune-tellers forever, and made it possible for every man and every woman to foretell, that certain ends, based on certain characteristics, are desirable and within reach, and that certain other ends, based similarly on certain character- istics, are to be avoided. The ancient sage who said ' Know thyself' would find the sure method here. The beauty, fulness, and knowledge of this book with its hundreds of illustrations must make it the final and best authority on what should now become a popular and fascinating science."—Samuel Harden Church. New York Q. P. Putnam's Sons London r------- Character Reading Through Analysis of the Features By Gerald Elton Fosbroke With 56 Full-page Illustrations from Original Drawings by Carl Boehneh S°. 193 pages. 56 Illustrations. Popular Edition. Many people are ready to agree that the head and face possess a certain significance in revealing personality, but few are prepared to go a logical step further, and to admit that such means of revelation may be so recognized and tabulated as to be of definite statistical value. Yet such a contention is both reason- able and susceptible of proof. The authors purpose is to incite to inquiry, criticism, and research. Only by a careful application of the rules laid down by the author can any trustworthy analysis of character be arrived at. The rules are fully and clearly stated, and are supplemented by a series of illustrations of exceptional value. G. P. Putnam's Sons New York London 5 59 3 / NAi/V i V\i/V J V\i^/ I SAiA/ US.Deportment of » Heolth, Educotion, J and Welfare. Public » HealthSetv.ee 5 Bethesdo, Md *> U S. Deportment of J Heolth, Education. » and Welfare. Public 0 5 *> ond Welfare. Public * BF 891 F877p 1922 00830390R NLM 050057=11 7 NATIONAL LIBRARY OF MEDICINE