when someone speaks he looks at a mouth, not eyes and their colors, which, it seems to him, will always alter depending on the light of a room, the minute of the day. Mouths reveal insecurity or smugness or any other point on the spectrum of character. For him they are the most intricate aspect of faces. He's never sure what an eye reveals. but he can read how mouths darken into callousness, suggest tenderness. One can often misjudge an eye from its reaction to a simple beam of sunlight.
A wise man will find us to be rogues by our faces.
I don't read such small stuff as letters, I read men and nations. I can see through a millstone, though I can't see through a spelling-book. What a narrow idea a reading qualification is for a voter!
It is a mistake, too, to say that the face is the mirror of the soul. The truth is, men are very hard to know, and yet, not to be deceived, we must judge them by their present actions, but for the present only.
When I paint a person, his enemies always find the portrait a good likeness.
They treat me like a fox, a cunning fellow (Schlaukopf) of the first rank. But the truth is that with a gentleman I am always a gentleman and a half, and when I have to do with a pirate, I try to be a pirate and a half.
I will know him by his eyes.
All men's faces are true, whatsome'er their hands are.
I think if you find that you're making a judgment on the character, than your audience will make a judgment on the character.
