It is one of the characteristics of the science of to-day that crime is studied from the standpoint of organization, and takes its place among the scientific and medical, as well as the social and religious, problems of the age. M. Tarde commences with the consideration of the anatomical characters of the criminal type, one in direct contrast to the ideal of Hegel, according to whom the form of the nose is all important in explaining the beauty of the Grecian profile. Between the forehead, where the spiritual expression of the human face is concentrated, and the jaw, where animalism finds expression, the nose appears to Hegel to be the intermediate organ which powerfully contributes to turn the scale in favour of one or the other. It tends, according to him, to render the animal or spiritual nature predominant, according as it is intimately connected, by almost a straight line, with a vertical forehead, or is detached from a retreating forehead, marked with wrinkles, by a broken line, the nose being of the snub order, or even it may be aquiline, and incorporated rather with the mouth and the jaw, especially if these are heavy and prominent (p. 15). The author maintains that the beautiful classical head, forms, by the forehead and rectilinear nose, by the small and gracefully-arched mouth, by the moderate size of the jaw, by the small ear closely applied to the temples, a perfect contrast to the type of the criminal, whose ugliness is, indeed, the most marked characteristic. Of 275 photographs of criminals given in Lombroso's L'Uomo delinquente, M. Tarde could only discover one beautiful face, and this had a feminine expression; the remainder were mostly repulsive, and the number of monstrosities was very large. Méfiez-vous des laids encore plus que des glabres! It seems to M. Tarde that after having sought to explain the criminal physiognomy by comparing it to that of the primitive man, always more or less conjectural, one ought to be able to contrast it with the ideal type of human beauty which for long has been much better known to us, and in this way to complete or rectify the first interpretation of its characters (p. 16). The expression of the assassin is described as dull, cold, and fixed; while with the thief it is restless, oblique, and wandering. Much stress is laid by Lombroso upon the frequency of the wrinkles on the forehead, and of the development of the superciliary ridge. It is this character which, joined to a retreating forehead, appears to explain the curious resemblance between the Italian criminals and those of France and Germany (p. 16). At any rate, Lombroso's plates reveal an astonishing resemblance between the criminals of different European races.