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The prediction of personality functioning from facial appearances and expression.



in the science of antiquity and of certain later periods, the study of the direct connection between the outward appearance and character of a person or an animal.

Physiognomy is rooted in the ancient practice of incorporating experience of life into folklore and the lore of sorcerers, fortune tellers, and the like. Physiognomic observations became part of the cultures of the ancient East; in the classical era they were systematized in the same way as other scientific disciplines of the time. Proportions of the face and body, characteristic gestures and facial expressions, and types of posture, build, and carriage of the body were described and classified.

In antiquity physiognomy was associated with the theory of temperaments and with Hippocrates’ theory of the dependence of an individual’s or a people’s physical and mental makeup on climate. Physiognomy was also related to the system of moral types (“characters”) worked out by Theophrastus and other students of Aristotle and to the use of types in classical literature, as exemplified by the character masks in New Comedy and the techniques of verbal portraiture in classical rhetoric, historiography, and biography.

Physiognomy was based on the notion prevalent in antiquity that the actions and behavior of every person are rigidly determined by his inborn character. According to Heraclitus, a person’s character was his “demon,” that is, his fate; similar statements were made by Epicharmus, Democritus, and Plato. It was believed that every person’s association with a moral type was just as clear and obvious, just as tangible and biological, as his physical features.

The classical tradition of physiognomy was reflected in the culture of Byzantium and of medieval Western Europe; it had a particularly strong influence on Arab science and on the cabala of Jewish mysticism. Some Western European scientists, for example, G. della Porta in De humana physiognomonia (1586), resumed the study of physiognomy between the 16th and 18th centuries. However, the establishment of new scientific criteria in the 17th and 18th centuries relegated physiognomy to the realms of common sense and artistic intuition. In his Physiognomical Fragments (1775–78), J. K. Lavater failed in an attempt to restore physiognomy to the status of a science. Similar attempts by such epigones of German romanticism as R. Kassner and L. Klages also failed to achieve acceptance. Klages’ graphology and characterology may be mentioned in this connection.


Scriptores physiognomonici graeci et latini, vols. 1–2. Edited by R. Foerster. Leipzig, 1893.
Evans, E. C. Physiognomies in the Ancient World. Philadelphia, 1969.


References in periodicals archive ?
The radiating sweeps define 'quartiers' and their streets, the 'snakes', are a counter-movement, somewhat like a stream, the edges of the town have different physiognomies dependent upon circumstance: one tight, one heroic, one secret and one casually falling away.
Deputies, sub-deputies, municipal officials and merchants were not convinced that their national government in Paris had the slightest knowledge of their physiognomies, much less the faces of their towns.
Ignoring the specifics of individual physiognomies, like details that slip away in dreams, Rebet renders (in rare flashes of vivid remembrance) the striking red feather plumes of Pain Brush Cardinal (all works 2006) and the billowing blue bonnets in I Sold You Mermaids.
Osgemeos's comic character with a yellow face, painted on top of a tableau of portraits with partially hidden physiognomies, looked like a funny bogeyman rather than the agent of any particular menace, and as such provided commentary on how terrorism is being exaggerated for political gain.