Decoding Van Helsing through Physiognomy

Mina's Description of Van Helsing:

"The face, clean-shaven, shows a hard, square chin, a large, resolute mobile mouth, a good-sized nose, rather straight, but with quick, sensistive nostrils, that seem to broaden as the big, bushy brows come down and the mouth tightens. The forehead is broad and fine, rising at first almost straight and then sloping back above two bumps of ridges wide apart; such a forehead that the reddish hair cannot possible tumble over it, but falls naturally back to the sides. Big, dark, blue eyes are set widely apart, and are quick and tender or stern with the man's moods" (163). 

All further selections from Johann Casper Lavater's Physiognomy; or The Corresponding Analogy Between the Conformation of the Features and the Ruling Passions of the Mind  (1826):


Foreheads

"The form, height, arching, proportion, obliquity (slanting), and position of the scull, or bone of the forehead, shew the propensity, degree of power, thought and sensibility of man... I consider the peculiar delineation of the outline and position of the forehead... to be the most important of all the things presented to physiognomical observation" (57).

Forehead Principles:

• The longer the forehead, the more comprehension, and less activity.
• The more compressed, short and firm the forehead, the more compression, firmness, and less volatility in the man.
• The more curved and cornerless the outline, the more tender and flexible the character; the more rectilinear, the pertinacity and severity.
• Perfect perpendicularity, gently arched at the top, denotes excellent propensities of cold, tranquil, profound thinking.
• Projecting- imbecility, immaturity, weakness, stupidity.
• Retreating, in general, denotes superiority of imagination, wit, and acuteness.
• The round and prominent forehead above, straight lined below, and in the whole perpendicular, shews much understanding, life, sensibility, ardour and icy coldness.
• Arched foreheads appear to be feminine. 
• I have hitherto seen no man with sharp projecting eye-bones, who had not great propensity to an acute exercise of the understand and to wise plans.
• Foreheads with many angular, knotty protuberances, ever denote much vigorous, firm, harsh, oppressive ardent activity, and perseverance. 

Eyes

"The eye appertains to the soul more than any other organ" (64). 

"Blue eyes are generally more significant of weakness, effeminacy, and yielding than brown and black. True it is that there are many powerful men with blue eyes; but I find more strength, manhood, and thought combined with brown than blue" (61).

"I have never met with clear blue eyes in the melancholic, seldom in the choleric, but most in the phlegmatic temperament (unemotional and calm disposition), which, however, had much activity" (61).

Eyebrows

"The nearer the eyebrows are to the eyes, the more earnest, deep, and firm the character. The more remote from the eyes, the more volatile, easily moved, and less enterprising" (68).

"Meeting eyebrows... are found in the most open, honest, and worthy countenances. It is true they give the face a gloomy appearance, and perhaps denote trouble of mind and heart" (67).

Noses

"I have generally considered the Nose as the foundation or abutment to the brain. Whoever is acquainted with the gothic arch will perfectly understand what I mean by this abutment; for upon this the whole power of the arch of the forehead rests, and without it the mouth and cheek would be oppressed by miserable ruins" (68). 

"Its length should equal the length of the forehead" (69).

"The Dutch, if we judge from their portraits, seldom have handsome or significant noses" (70).

"The open breathing nostril is as certain a token of sensibility, which may easily degenerate into sensuality" (71).

Mouths

"The contents of the mind are communicated to the mouth. How full of character is the mouth, whether at rest or speaking, by its infinite powers" (71).

"Well defined, large and proportionate lips... may denote an inclination to pleasure, are never seen in a bad, mean, common, false, crouching, vicious countenance" (73).

"A closed mouth, not sharpened, not affected, always denotes courage and fortitude; and the open mouth always closes where courage is indispensable. Openness of mouth speaks complaint; and closeness, endurance" (74).