No work dealing with the study of handwriting would be complete unless it recognised that phase of it which touches on the delineation of character by an examination of the caligraphy.
That many valuable clues can be picked up by the expert who applies the principles on which the graphologist works is indisputable, nor is it necessary to accept all the theories claimed as reliable by those who practice this interesting branch of the art of writing-analysis.
There is no doubt that many persons have attained a remarkable degree of proficiency in deducing from the hand-gestures of an unknown person a very accurate estimate of his or her character, and this fact should prove that the principles of the art of graphology are based on scientific grounds, or at least that the rules on which the student works are regular and not, as some suggest, mere guess-work or coincidence.
The elder d'Israeli, in his fascinating work, the "Curiosities of Literature," devotes considerable space to the subject. Among other things, he says:—
"Assuredly nature would prompt every individual to have a distinct sort of writing, as she has given a peculiar countenance, a voice, and a manner. The flexibility of the muscles differs with every individual, and the hand will follow the direction of the thoughts, and the emotions and the habits of the writers.
"The phlegmatic will portray his words with signs of labour and deliberation, while the playful haste of the volatile will scarcely sketch them; the slovenly will blot and efface and scrawl, while the neat and orderly-minded will view themselves in the paper before their eyes. The merchant's clerk will not write like the lawyer or the poet. Even nations are distinguished by their writing; the vivacity and variableness of the Frenchman, and the delicacy and suppleness of the Italian, are perceptibly distinct from the slowness and strength of pen discoverable in the phlegmatic German, Dane, and Swede.
"When we are in grief we do not write as we should in joy. The elegant and correct mind, which has acquired the fortunate habit of a fixity of attention, will write with scarcely an erasure on the page, as Fenelon and Gibbon; while we find in Pope's manuscripts the perpetual struggle of correction, and the eager and rapid interlineations struck off in heat. Lavater's notion of handwriting is by no means chimerical; nor was General Paoli fanciful when he told Mr. Northcote he had decided on the character and disposition of a man from his letters and the handwriting.
"Long before the days of Lavater, Shenstone in one of his letters said, 'I want to see Mrs. Jago's writing that I may judge of her temper.'
"One great truth must, however, be conceded to the opponents of the physiognomy of handwriting. General rules only can be laid down. Yet the vital principle must be true that the handwriting bears an analogy to the character of the writer, as all voluntary actions are characteristic of the individual."