by Elsie Lincoln Benedict
Available in 98 free installments
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From the stage of old down to the movies of today the typical artist is pictured with a slight, slender hand.
This tapering-fingered hand denotes a keen sense of artistic values; a love of the esthetic, refined and beautiful; and real artistic appreciation, but not the ability to create.
¶ Before we explain this, kindly understand that we are speaking only of those arts which require hand work?and not of such arts as singing, dancing, or musical composition which could more properly be called artistic activities. We are referring only to those arts which depend for their creation upon the human hand?such as painting, architecture, craftsmanship, cartooning, sculpture, violin, piano, etc.
All these are created by square fingered people.
We are too much inclined to think of the products of these arts as being created out of sheer artistic sense, artistic taste or artistic insight. But a moment's reflection will show that every tangible artistic creation is the result of unusual hand work combined with gifted head work. Without a sure, strong, well-knit hand the ideas of the greatest artists could never have materialized. The lack of such a hand explains why the esthetic, the artistic-minded and the connoisseur do not create the beautiful things they appreciate.
¶ The hand must execute what the brain plans and it must be so perfect a mechanism for this that it responds to the most elusive inspirations of the artist. It must be a fifty per cent partner, else its owner will never produce real art.
No type has this strong, sure, co-ordinated hand-machine to any such degree as the Muscular.
The finger ends, which are of the utmost significance in the creation of artistic things, must be fitted with well developed muscles of extreme efficiency or the execution will fall short of the ideal pictured in the artist's mind.
The pure Muscular type seldom makes an artist, for, after all, inspired brain work is the other important element in the creation of art, and this is the forte of the fifth type. A combination of the fifth type with the Muscular makes most hand artists. A combination of the Muscular and Thoracic makes most singers. Every hand artist will be found to have spatulate-fingered hands?in short, muscular hands.
The hand of the famous craftsman, pianist, sculptor and painter, instead of being more frail and delicate, is always larger and heavier than that of the average person. Such a hand is a certain indication of the muscular element in that individual's makeup.
¶ Forceful, decisive movements also characterize this type. He is inclined to go at even the most trivial things with as much force as if the world depended on it.
Recently we were exhibiting a small pencil sharpener to a muscular friend. It was so sharp that it performed its work without pressure. But she took hold of it as if it were a piece of artillery and pushed the pencil into it with all the force she had.
When we remonstrated smilingly?for her face and hands are ultra-square?she said, "But I can't do anything lightly. I just naturally put that much force into everything."
¶ Heavy, powerful, forceful strides distinguish the walk of this type. If he has but ten steps to go he will start off as if beginning an around-the-world marathon.
¶ All Musculars notify people, by their walk, of their approach. They are unconscious of this loud incisive tread, and most of them will be surprised to read it here. But their friends will recognize it. The chances are that they have often spoken of it amongst themselves.
¶ The "steam-calliope voice" belongs almost always to a Muscular. He does his talking just as he does everything else?with all his might.
It is very difficult for the Muscular to "tone down" this powerful voice. His long-suffering friends will testify to this characteristic.
¶ This loud voice is a serious social handicap to him. His only chance of compensation for it lies in its use before juries, congregations or large audiences.
It might be noted here that every great orator has been largely of this type, and also that his fame came not alone from the things he said but from the stentorian tones in which he said them.
