The inventor, the genius, and the intuitive person will all find new ideas through their investigation of the inscrutable and unknown. The handwriting of these writers exhibits in­dividual and original letter formation. Their creative power reflects a special characteristic, a visual third dimension, which gives the reader a sense of perspective through its con­spicuous plasticity, and distinguishes this type of script from the more common two-dimensional writing.

We shall now investigate the third-dimensional handwritings of several highly gifted men. Wolfgang von Goethe:

Here we observe the harmonious writing of the great poetic genius Wolfgang von Goethe. The writing appears to be moving rhythmically across the page, and through the presence of the third dimension, the reader has the impres­sion of looking deep into the script itself. The abundance of beauty and imaginative power which exist in the unique ornamentations reveal the innate culture and refinement of this genius. The rightward angle betrays his vast compre­hension of human nature, and his interest in everything about him. In his picturesque flourishes we see the apprecia­tion for the fine arts which led him to devote one period of his life to drawing and painting. Feruccio Busoni:

The musical and artistic personality of the Italian pianist and composer, Feruccio Busoni, is revealed in the harmony of his writing as a whole, and the beautiful and brush-like strokes of his single letters. His deep comprehension of all the manifestations of beauty, and love for art in its purest forms, are expressed in the script which he forms with an in­herent sense of proportion. The somewhat regular, though not monotonous, angle reflects an unconscious musical rhythm, while his artistic intuition is mirrored in the discon­nected letters. The firmness of pressure reveals his capacity for sustained effort and concentration. The capital 5's with their protective arcs symbolize his ability, not only to create, but also to teach others, and lead them into a true develop­ment of their talents. The flourishing tail of the i which underlines his signature reveals his talent for the fine arts.

Edward MacDowell:

In Edward MacDowell's harmonious script, we find a good example of the musician's sensibility, and the lyric soul of an artist. The fine spacing and good adjustment of the entire writing reveal his aesthetic sense, while the beautiful flour­ishes reflect his talent for the fine arts. From the dynamic writing, we realize the vitality of his mind; the original for­mation of his letters mirror his creative powers.

The writing as a whole reveals the inherent fineness of his personality, and his perseverance and vitality are disclosed in the energetic pressure. His sense of musical color is obvious in the lights and shadows of his writing. It seems obvious that this writer is a fine lyric tone poet, rather than a dramatic composer. The writing is simple and clear, lacking in arti­ficial effects, letters growing upwards into the upper zone re­veal a spirit which, rising over the heaviness of the world, finds its true expression in aesthetic harmony.

Thomas Mann:

The handwriting of the novelist Thomas Mann reproduces the author's talent for aesthetic detail. His intense intellect and idealism are expressed in the minute and characteristi­cally shaped letters, while his artistry finds realization in the unusual formation of his capitals. This writer has a highly concentrated and intuitive nature, coupled with a broad com­prehension of humanity. The characteristically falling end­ings of the words express his tendency to expound a pessimis­tic ideology.

Darius Milhaud:

The script of Darius Milhaud, like his music, tends to be more dramatic than lyric. The abandonment of his isolated initials and the verve of his writing as a whole are parallel to the vital facility of his compositions. The swift stroke over his signature is an outward manifestation of his general as­surance of his place as a revolutionary composer.

Andre Gide:

This is the handwriting of the French author Andre Gide. His great literary talent and innate culture are most appar­ent in this script. His original and artistic personality finds its expression in his use of the third dimension, which also characterizes his foresight and imaginative power. His love of form is mirrored in the intricately designed loops of the upper and lower zones, while his fondness of nature appears in his pasty pressure. The high i dots, or in this case, com­mas, show his imagination and sense of humor. His ease of expression is indicated by what we call the "literary" forma­tion of his d's—a formation which turns back upon itself.

Claude Debussy:

The French composer Claude Debussy repeats in his writ­ing the impressionistic period in music, with which he is closely identified. Some features of romanticism are still visible in his sensitiveness to color, which takes the form of light and shade in his script. The diminutive elegance of this writing is due to the writer's musical impressions, as well as the influence of French impressionist painting and poetry. There is no passion or deep feeling to be seen in this script —only lyric refinement. The plasticity of the third dimen­sion reveals his irrefutable genius.

Maurice Ravel:

Here is a certain affinity in the characters, expression, and conception of Debussy and Ravel. While we observe a some­what effeminate delicacy in Debussy, we see in Ravel a stronger rhythmical backbone, a more realistic, forceful and masculine type of script, uncovered by the relatively heavy pressure of his pen. This script shows great creative power, and we see that the letters are formed with a great sense of clarity and plasticity. The boldness of his musical composi­tions, the ardor of his temperament, and the fertility of his creative power are all visible in the capital S's, and especially in the innumerable musical symbols present in this script. The even pressure shows his energy and unique sense of musical color. The upper zone predominates, but the lower is well developed, showing the balance of his vital reality.

Hendrik Willem van Loon:

The light, firm strokes and third-dimensional perspective show van Loon's strong intuitive sense, while the dashes which occasionally connect one word with the next reveal his practical intelligence. It is interesting to see how in this let­ter, as in all of his works, he cannot divorce pictures from the written word—and even the words themselves look like mi­nute sketches. The caricature over the signature displays van Loon's affable self-assurance. A man who decorates his corre­spondence with such sensitively humorous pictures reveals his ability to win the confidence and affection of the majority of the people with whom he comes in contact.

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