Fuller relates the method of a celebrated painter, which method has been since taught by many teachers of both drawing and memory. He relates it as follows: "The celebrated painter Leonardo da Vinci invented a most ingenious method for identifying faces, and by it is said to have been able to reproduce from memory any face that he had once carefully scrutinized. He drew all the possible forms of the nose, mouth, chin, eyes, ears and forehead, numbered them 1, 2, 3, 4, etc., and committed them thoroughly to memory; then, whenever he saw a face that he wished to draw or paint from memory, he noted in his mind that it was chin 4, eyes 2, nose 5, ears 6,—or whatever the combinations might be—and by retaining the analysis in his memory he could reconstruct the face at any time." We could scarcely ask the student to attempt so complicated a system, and yet a modification of it would prove useful. That is, if you would begin to form a classification of several kind of noses, say about seven, the well-known Roman, Jewish, Grecian, giving you the general classes, in connection with straight, crooked, pug and all the other varieties, you would soon recognize noses when you saw them. And the same with mouths, a few classes being found to cover the majority of cases. But of all the features, the eye is the most expressive, and the one most easily remembered, when clearly noticed. Detectives rely much upon the expression of the eye. If you ever fully catch the expression of a person's eye, you will be very apt to recognize it thereafter. Therefore concentrate on eyes in studying faces.

A good plan in developing this faculty is to visualize the faces of persons you have met during the day, in the evening. Try to develop the faculty of visualizing the features of those whom yon know—this will start you off right. Draw them in your mind—see them with your mind's eye, until you can visualize the features of very old friends; then do the same with acquaintances, and so on, until you are able to visualize the features of every one you "know." Then start on to add to your list by recalling in the imagination, the features of strangers whom you meet. By a little practice of this kind you will develop a great interest in faces and your memory of them, and the power to recall them will increase rapidly. The secret is to study faces —to be interested in them. In this way you add zest to the task, and make a pleasure of a drudgery. The study of photographs is also a great aid in this work—but study them in detail, not as a whole. If you can arouse sufficient interest in features and faces, you will have no trouble in remembering and recalling them. The two things go together.