This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.
This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.
As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
George Jabet, Victorian, under the pen-name Eden Warwick, says: "We all acknowledge the impression given by the mind to the mouth and eyes because they express Temper and Passion - feelings which interest us in our mutual intercourse. The nose is not influenced by feelings which agitate and vary the mind. Unmovable and Unvaried."
This little "study" from 1848 has been an immensely entertaining read. George is hilarious, down to the point where he comically pretends he has never wrinkled his nose in disgust at the smells of Victorian London.
Of course, the reader would find more scientific substance in folk medicine, George prattles on about Aquiline noses indicating some esoteric great energy and 40 degree angles versus the best 30 degree angle, with an acute angle calling for predispositions of melancholy. He cites illustrative melancholic noses including Dante, John Knox and E. Spencer.
George is a typical Victorian man, with typically repulsive opinions on women and Jewish people, opinions which he doesn't shy from including in this, what he calls a "scientific study" of a body part.
We continue with the Roman nose, which, as per George is "particularly characteristic of That nation. Hence its name." The Roman nose. Get it? If the reader somehow could not wrap their minds around it, George will go into more detail.
The Roman nose, the nose that is common to conquerors of the world, including Ramses II, Caesar, Charles V of Spain, Duke of Wellington, Canute, Queen Elizabeth (what an interesting brown-nosing mention) and Columbus, Sir Francis Drake, Jupiter and Hercules, "not men of the closet, but men of the field". Men of action.
A subclass he is much fond of, the Roman- Greek Nose, belonging to Alexander the Great, Constantine, Woolsey and Richelieu, Napoleon - associated with physical energy, refinement of the mind, a love of fine arts and letters.
We move on to the women, which obviously must be discussed separately as:
"It is almost indisputable that women's characters are generally less developed than those of men, and this fact accurately accords with the usual developments of their Noses. It is as if Women have no noses at all".
Aha.
"The Roman Nose mars Beauty and imparts masculine energy to the face, which is most unpleasing. We do not desire for a woman to take the reins of government from her husband, but we are content to see her govern her household with energy".
Further arguments are futile, for George is a Victorian Man and no Roman-nosed woman will take the reigns of government whilst King Victor and Princess Alberta sit on the throne of Great Britain!
Not even Queen Elizabeth, who had a Roman nose and the heart and stomach of a king, and of a king of England too!
Dearest Mr. Jabet, you've been way too liberal with your ink, sir. Ink lasts. History has turned ink into comedy. Women with masculine energy are laughing at you, George.
(have seen an original print, originally purchased from Goad's bookshop in Bath, with bibliographic footnotes, now at the Wellcome Gallery in London, 2021)