A small face being therefore a test of refined beauty, we have here another proof of the superiority of feminine over masculine beauty. For although woman has a smaller cranium than man, it is larger than man’s relatively to the face. In other words, women have smaller and less massive faces than men, both absolutely and relatively to their size. Kollmann, who is not an evolutionist, endeavours to account for this difference on the ground that men are more addicted to the pleasures of the table than women. But surely, though women eat less than men, they do not make much less use of their teeth; and for any deficiency in this respect they more than make up by the constant wagging of their jaws in small-talk. It is infinitely more probable that Darwin is right in attributing the massiveness of the masculine jaws to the accumulated, inherited effects of constant use in fighting with enemies and rivals—contests from which the passive females have as a rule been exempt.
It is the assumption by the hands of many of the former functions of the teeth that has led to the decrease in the size of the teeth, and, in consequence, of the jaw-bones to which they are attached. Some writers have even claimed that the wisdom-teeth are becoming rudimentary, and will ultimately disappear, because there will be no room for them in our gradually diminishing jaws. We may feel confident, however, that if this reduction in the size of the jaws tended to go too far, the sense of beauty and Sexual Selection, i.e. Love, would step in to arrest the process, by favouring the survival of those who gave their teeth sufficient exercise to prevent the lower part of the face from becoming too much reduced in size. Our sense of beauty demands that the distance from tip of chin to nose should be about the same as the length of the nose and the height of the forehead. Should these proportions be violated, Love will restore the balance; for no lover would ever select a face in which the chin almost touches the nose, as in infants, whose teeth and jaws are not yet developed, or as in old men and women, in whom the loss of the teeth has led to a collapse of the jaws, resulting in a loss of proportion, clumsy movements, and prognathism.
DIMPLES IN THE CHIN
An oval, well-rounded chin is one of the most important elements of formal beauty, and is a characteristic trait of humanity; for man is the only animal that has a chin. Lavater distinguishes three principal varieties of chin: the receding chin, which is peculiar to lower races and types; the chin which does not project beyond a line dropped from the lips; and the chin which does project beyond that line. Of all parts of the face the chin has the least variety of form and capability of emotional expression. Physiognomists have expended much ingenuity in attempting to trace a connection between various forms of the chin and traits of character; but their generalisations have no scientific value. It is probable that often a very small, weak chin indicates weak desires and a vacillating character, while an energetic chin, like Richard Wagner’s, indicates the iron will of a reformer. But the connection between the development of the brain and special modifications of the bones of the chin is too remote to permit a safe inference in individual cases.
In ancient Egyptian art, as Winckelmann points out, “the chin is always somewhat small and receding, whereby the oval of the face becomes imperfect.”
One of the most essential conditions of beauty in a chin, if we may judge by the descriptions of novelists, is a dimple. Yet it is doubtful whether a dimple can ever be accepted as a special mark of beauty. Temporary dimples (for the production of which there seems to be a special muscle) are interesting as a mode of transient emotional expression. But permanent dimples interrupt the regular gradation of the beauty-curve, and too often indicate that the plump roundness, so fascinating in a woman’s face, has passed the line which indicates corpulence and obliterates the delicate lines of expression.
Dimples occur not only in the chin, but also in the cheek, at the elbow-joints, on the back, and in plump female hands at the knuckles. They are caused by a dense tissue of fibres, blood-vessels, and nerves holding down the skin tightly in one place, and thus preventing such an accumulation of fat between the skin and muscles as is seen in the surrounding parts.
Tommaseo (quoted by Mantegazza) probably had in mind the connection between corpulence and mental indolence when he said that “a dimple in the chin indicates more physical than mental grace.”
“As a dimple—by the Greeks termed νύμφη—is an isolated and somewhat accidental adjunct to the chin, it was not,” says Winckelmann, “regarded by the Greek artists as an attribute of abstract and pure beauty, though it is so considered by modern writers.” With a few unimportant exceptions, it is not found in “any beautiful ideal figure which has come down to us.” And although Varro prettily calls a dimple in a statue of Bathyllus an impress from the finger of Cupid, Winckelmann thinks that when dimples do occur in Greek art works they must be attributed to a conscious deviation from the highest principles of art for the sake of personal portraiture. “In images whose beauties were of a lofty cast, the Greek artists never allowed a dimple to break the uniformity of the chin’s surface. Its beauty, indeed, consists in the rounded fulness of its arched form, to which the lower lip, when full, imparts additional size.”