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How to remember faces. The memory
of faces is closely connected with the memory

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of names, and yet the two
are not always associated, for there are

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many people who easily remember faces and
yet forget names, and vice versa.

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In some ways, however, the
memory of faces is a necessary precedent for

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the recollection of the names of people, for unless we recall the face,

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we are unable to make the necessary
association with the name of the person.

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We have given a number of instances
of face memory in our chapter on name

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memory, in which are given instances
of the wonderful memory of celebrated individuals who

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acquired a knowledge and memory of the
thousands of citizens of a town or city,

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or the soldiers of an army.
In this chapter, however, we

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shall pay attention only to the subject
of the recollection of the features of persons,

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irrespective of their names. This faculty
is possessed by all persons, but

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in varying degrees. Those in whom
it is well developed seem to recognize the

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faces of persons whom they have met
years before, and to associate them with

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their circumstances in which they last met
them, even where the name escapes the

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memory. Others seem to forget a
face the moment it passes from view,

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and fail to recognize the same persons
whom they met only a few hours before,

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much to their mortification and chagrin.
Detectives, newspaper reporters, and others

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who come in contact with many people
usually have this faculty largely developed, for

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it becomes a necessity of their work, and their interest and attention is rendered

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active thereby. Public men often have
this faculty large developed by reason of the

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necessities of their life. It is
said that James G. Blaine never forgot

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the face of anyone whom he had
met and conversed with a few moments.

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This faculty rendered him very popular in
political life. In this respect, he

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resembled Henry Clay, who was noted
for his memory of faces. It is

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related of Clay that he once paid
a visit of a few hours to a

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small town in Mississippi on an electioneering
tour. Amidst the throng surrounding him was

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an old man with one eye missing. The old fellow pressed forward, crying

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out that he was sure that Henry
Clay would remember him. Clay took a

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sharp look at him and said,
I met you in Kentucky many years ago.

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Did I not, Yes, replied
the man. Did you lose your

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eye since? Then, asked Clay. Yes several years after, replied the

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old man. Turn your face sideways
so that I can see your profile,

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said Clay. The man did so. Then Clay smiled triumphantly, saying I've

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got you now. Weren't you on
that jury in the Innis case at Frankfort

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that I tried in the United States
court over twenty years ago? Yes,

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sir ee, said the man.
I knowed that you know me, and

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I told him you would, And
the crowd gave a whoop, and Clay

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knew that he was safe in that
town and county. Vedoc. The celebrated

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French detective is said to have never
forgotten a face of a criminal whom he

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had once seen. A celebrated instance
of this power on his part is that

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of the case of de la Franche, the forger who escaped from prison and

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dwelt in foreign lands for over twenty
years. After that time, he returned

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to Paris, feeling secure from detection, having become bald, losing an eye,

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and having his nose badly mutilated.
Moreover, he disguised himself and wore

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a beard in order to still further
evade detection. One day, Vidoc met

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him on the street and recognized him
at once his arrest and returned to prison.

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Following instances of this kind could be
multiplied indefinitely, but the student will

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have had a sufficient acquaintance with persons
who possessed this faculty developed to a large

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degree, so that further illustration is
scarcely necessary. The way to develop this

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phase of memory is akin to that
urged in the development of other phases.

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The cultivation of interest and the bestow
of attention as a whole are not apt

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to prove interesting. It is only
by analyzing and classifying them that the study

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begins to grow of interest to us. The study of a good elementary work

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on physiognomy is recommended to those wishing
to develop the faculty of remembering faces,

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For in such a work, the
student is led to notice the different kinds

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of noses, ears, eyes,
chins, foreheads, etc. Such notice

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and recognition tending to induce an interest
in the subject of features. A rudimentary

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course of study in drawing faces,
particularly in profile, will also tend to

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make one take notice and will awaken
interest. If you are required to draw

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a nose, particularly from memory,
you will be apt to give it your

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interested attention. The matter of interest
is vital. If you were shown a

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man and told that the next time
you met and recognized him, he would

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hand you over five hundred dollars,
you would be very apt to study his

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face carefully and to recognize him later
on, Whereas the same man, if

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introduced casually as a mister Jones,
would arouse no interest and the chances of

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recognition would be slim. Halleck says, every time we enter a street car,

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we see different types of people,
and there is a great deal to

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be noticed about each type. Every
human countenance shows its past history to one

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who knows how to look. Successful
gamblers often become so expert in noticing the

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slightest change of an opponent's facial expression
that they will estimate the strength of his

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hand by the involuntary signs which appear
in the face, and which are frequently

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checked the instant they appear. Of
all classes, perhaps artists are more apt

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to form a clear cut image of
the features of persons whom they meet,

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particularly if they are portrait painters.
There are instances of celebrated portrait painters who

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were able to execute a good portrait
after having once carefully studied the face of

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the sitter, their memory enabling them
to visualize the features at will. Some

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celebrated teachers of drawing have instructed their
scholars to take a sharp, hasty glance

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at a nose, an eye,
an ear, or chin, and then

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to so clearly visualize it that they
could draw it perfectly. It is all

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a matter of interest, attention,
and practice. Sir Francis Galton cites the

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instance of a French teacher who trained
his pupil so thoroughly in this direction that

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after a few months practice, they
had no difficulty in summoning images at will,

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in holding them steady, and in
drawing them correctly. He says of

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the faculty of visualization thus used,
a faculty that is of importance in all

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technical and artistic occupations, that gives
accuracy to our perceptions and justice to our

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generalizations, is starved by lazy disuse, instead of being cultivated judiciously in such

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a way as will, on the
whole bring the best return. I believe

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that a serious study of the best
means of developing and utilizing this faculty without

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prejudice to the practice of abstract thought
and symbols is one of the many pressing

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desiderata in the yet unformed science of
education. Fuller relates the method of a

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celebrated painter, which method has been
since taught by many teachers of both drawing

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and memory. He relates it as
follows. The celebrated painter Leonardo da Vinci

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invented a most ingenious method for identifying
faces, and by it is said to

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have been able to reproduce from memory
any face that he had once carefully scrutinized.

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He drew all the possible forms of
the nose, mouth, chin,

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eyes, ears, and forehead,
numbered them one, two, three,

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four, et cetera, and committed
them thoroughly to memory. Then, whenever

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he saw a face that he wished
to draw or paint from memory, he

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noted in his mind that it was
chin, four eyes, two nose,

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five ears, six, or whatever
the combinations might be, and by retaining

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the analysis in his memory, he
could reconstruct the face at any time.

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We could scarcely asked the student to
attempt so complicated a system, and yet

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a modification of it would prove useful. That is, if you would begin

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to form a classification of several kinds
of noses, say about seven the well

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known Roman, Jewish, Grecian,
giving you the general classes. In connection

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with straight, crooked, pug and
all the other varieties, you would soon

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recognize noses when you saw them,
and the same with mouths, a few

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classes being found to cover the majority
of cases. But of all the features,

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the eye is the most expressive and
the one most easily remembered when clearly

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noticed. Detectives rely much upon the
expression of the eye. If you ever

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fully catch the expression of a person's
eye, you will be very apt to

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recognize it thereafter. Therefore, concentrate
on eyes in studying faces. A good

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plan in developing this faculty is to
visualize the faces of persons you have met

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during the day. In the evening, try to develop the faculty of visualizing

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the features of those whom you know. This will start you off right.

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Draw them in your mind, see
them with your mind's eye, until you

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can visualize the features of very old
friends. Then do the same with acquaintances,

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and so on, until you are
able to visualize the features of every

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one you know. Then start on
to add to your list by recalling in

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the imagination the features of strangers whom
you meet. By a little practice of

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this kind, you will develop a
great interest in faces, and your memory

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of them and the power to recall
them, will increase rapidly. The secret

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is to study faces, to be
interested in them. In this way you

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add zest to the task and make
a pleasure of a drudgery. The study

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of photographs is also a great aid
in this work, but study them in

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detail, not as a whole.
If you can arouse sufficient interest in features

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and faces, you will have no
trouble in remembering and recalling them. The

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two things go together

