Graphology is a science with its basis just like all the other sciences; empirical, and scientific exploration of hypothesis and experimentation. The various character traits that match up with the various graphological traits have been thouroughly tested through the traditional scientific methods.

Graphology is a science and should be best left to experts in the field. It takes years of study and training to become a qualified graphologist. However, there are simple and logical explanations that can show you; how and why graphology works, and the implications for its practical uses.

The following handwritings are samples of famous people. We have provided a mini-analysis of some of the main features of these writings. It is for the purpose of your review. In no way is this to be determined as a complete and in-depth analysis. We have chosen a variety of samples purposely selected for their unique graphology characteristics and others simply because of their fame. Please enjoy these as they are meant only for the purpose of public interest.

Beethoven wrote this letter in 1812 to his love. He was 42 years old at the time. [An important feature of the sample is the fact that this written sample is "ear oriented". Hence, we see an apparently "disturbed" sample, which is not at all the case. About thirty percent of people are "ear oriented". This means that their brain processes information through their ears, and not as strongly through their eyes; most people are visual. Since handwriting is a "visual" exercise; it is quite common to see such awkward handwriting amongst those that are "ear oriented". It is my job upon analyzing a sample to determine that, and also to note the "strength" of that orientation. [Refer to the last sample on this page. It is Mozart, and even though Mozart was a tremendous composer; his writing dictates that he was also strongly "eye oreinted"!. So just being a musician or composer does not determine this very important trait; it is determined by the handwriting itself]

On first sight, we see the writing has power and is unorthodox. There are "shooting" strokes [shooting strokes are those that seem to just jump out out of nowhere. It is done by uncontrolled impulse rather than by intentional design] everywhere. The pressure is heavy, and erratic; and there is leaning toward pastosity. The slant is upright to slightly rightward, with many "uncontrollable" forces pushing rightward.

The upper zone is strongly emphasized in both height and "shooting strokes". There are many "pyramids" in the sample, some upright and others inverted. The middle zone is diminished, and legibility suffers. The lower zone is erratic, and quite variable, both in length and in form. The left margin is leftward, and the right margin is nomal.

There are enormous "tics" in the lower zone, and other "tics" throughout the sample. The i-dots are slashed. There is one PPI, it is small for the sample, and missing the father stroke. Notice that there are unusual disconnections, and other words which are long are completely connected. The baseline is too variable, uphill, then stepped and then concave.

Since there is a lot of activity in this sample; it follows that we would see a great variety of interesting graphology traits too.

Beethoven breathed of power as the writing indicates, however, it was compensation for a great deal of insecurity [small PPI, in powerful writing]. He would appear enthusiastic, while at other times, he was fighting against depression. Still other times, he was simply depressed. These moods swings occured instantaneously. [notice the quickly changing baseline; uphill, stepped, and concave] Beethoven carried a great deal of tension and hostility inside him. [excessive use of "tics" and sharp angles, changing pressure] Beethoven would not be described as well grounded in any shape or form. He could not control his temper, even though there is evidence that he did try. His emotions had greater power, than his ability to control himself. He was extremely inflexible, and would have been a difficult person to share any type of relationship, romance and friendship. [strong, and long "pyramids"]

On the other hand, Beethoven was a superb intellect. He allowed intuition and creativity into his life, and we can see that the "light bulbs" would just go off. There was no particular timing to this. He would then put these "ideas" onto paper as quickly as his mind would receive them. These thoughts and ideas would just strike him, and he had no control over this. This is how his intuition would play its role in his life.

Interestingly, considering his many works and accomplishments; Beethoven did not have a great deal of aspiration. [the t-bars are low and short] This is quite a contrast to those that did achieve a great deal. However, he did have a great deal of drive and energy. This was put to use in combination with the above stated "light bulbs" and intuition. His creativity was not a product of hard work, as much as it literally "came to him". And while he was an emotional rollercoaster, and with a highly corrosive personality; he was not a loner or hermit. He wanted people in his life. Beethoven wasn't able to control and be in charge of himself, so he could have successful personal relationships.

Beethoven was unorthodox, and his rhythm of his writing shows it. The disturbances of the rhythm are caused by the emotional turmoil and the bouts of intermitent intuition that would strike him. His music would portray the same unorthodox and very creative form that his writing exemplifies. He lived in his "own world" but always wanted to "fit" into society. This was another aspect of the conflict that Beethoven endured.

I am uncertain when Bach wrote this sample. Therefore, I will assume it was as a mature adult, sometime around the 1720's. Bach has some of the characteristics of "ear orientation", and it is also visual.

The sample is heavily pastose, the capitals are large and simplified. There is a great deal of activity and emphasis in the upper zone. Bach exhibits marvelous rhythm, in stark contrast to the above sample of Beethoven. The baseline is slightly convex. The middle zone is small and diminished, but the connective form here is garland. The sample is very "fluent". [fluency is a term which refers to the "stop and go" of the writing; or in Bach's case the almost non-stop format. Fluency can be an impulse by stroke, letter, word, line, or paragraph. I'll discuss its importance and relevance] The space between lines varies, gaining height as the letter develops.

Bach is highly intelligent, and is able to string all his thoughts together without a break [here is where the aspect of fluency comes into play, the upper zone is dominant] Bach is extraordinarily creative, prefering to reduce objectives and goals to its more simplistic formulas. Here unlike the methodolgy of Beethoven above, we see a hard working man, who spent a great deal of time in composing his music. Bach utilized logical thinking and patterns to formulate his music, rather than intuition and "light bulbs" going off intermitently.

Bach is a very warm, and compassionate personality. He was a very strong sensualist. He liked physical items that would activate the senses. These would include taste, smell, sight [hence the explanation and manifestation of the visual aspects of the sample] tactile [physical touch], and of course sound; which to Bach was a passionate and overwhelming experience.

With friends and acquaintances, he would feel no shame in hugging and kissing. Bach would have been sensitive, and emotionally; he would have been very moved by emotional situations. Here, you might say that he had a femminine quality about him. [Be aware that this does not state his sexual preference!] It is clear through multiple graphology traits that Bach was a very friendly man. He had an easy manner about him. People would have felt very invited and comfortable in the home of Bach.[word endings are garlanded] Bach's lover would have marveled at how understanding and sensual he was. Here is a man that would have had little problem in pleasing his lover. If, however, people tried to take advantage of Bach's good nature; he would have showed them the door. Bach was no fool or pushover either.[we see many strong and straight stable axis forms]

And although Bach loved company and socializing as manifestation to satisfy his warm, sensual personality; but once those needs for socializing were met; Bach would take off for his work. [notice the changes in line spacing height] Bach had a great deal of perserverance and discipline. Even though he was a quick worker and produced much within the time he had, and would accomplish a lot, but not everything that he wanted.

Bach's mind was working overtime constantly and there seems to be little rest with his active imagination and creativity. In Bach's world, there wasn't enough time to put all his ideas to paper. As much as he accomlished; there were many more ideas in his head which never reached fruition. [notice the slight convex baseline; and the flying creative strokes are so abundant]

This sample of Mozart was written when he was only 13 years old. However considering that he was so young, it is truly amazing handwriting. It is clear that Mozart was a genius even as a youth.

The form level is marvelous at any age, let alone 13. Like Bach, only not to such a degree, we see pastosity. The baseline is perfect, as is the line and word spacing. The sample is spontaneous, and like Bach, there are numerous adventures of flying and creative strokes into the upper zone. Mozart exhibits visual writing. The letters are rather narrow, and cramped, as is letter spacing, and word spacing.

The trizonal balance is impressive, as the middle zone is greatly reduced throughout. This again is an extraordinary quality in a boy so young. The loops in the upper zone are often ink filled. The rhythm is superb, along with tremendous fluency.

This sample is quite similar to that of Bach, above. The general characteristics are the same. There are some differences too. There is virtually no margins, and the signature for Mozart is a little elaborated, but what is truly noteworthy is the distance between the signature and the text.

Mozart is literally a genius, and would have been a prodigy. The writing is very mature, and the fluency enabled Mozart to compose continuously without break or interruption. He did not experience "writer's block" and this being more impressive because he is only 13.

In these unusual characteristics, Mozart was left without a childhood, and Mozart may have believed that this was a curse. [this explains the great distance between the body of text and the signature] It was difficult for Mozart to reach out and ask others for help, perhaps this was the result of still being only 13. However, it was not because he did not want others in his life. Quite the contrary; as he was constantly involved with people. Mozart, like Bach, enjoyed people and this was one avenue Mozart had available to express his sensitive, sensual, and emotional self. He was quiet, and a little shy. Mozart did not flaunt his immense talent, and shows no signs of conceit or arrogance. Instead, he preferred to just be with people and compose his music.

Mozart displayed a great deal of affection and love for his musical creations. His sensuality was strongly soothed by his music, and aspects such as touching the keyboard and listening to his music, would satisfy his strong sensual desire for tactile and sound affectations. Mozart's style of music, like Bach, woud have just flowed melodically and rythmically along. [pastosity, ink filled loops in upper zone predominate]

Mozart had a great deal of physical energy and force, and could work long and hard. [pressure strength, long and rhythmic lower zone loops] His creativity came easily to him, and he produced a great amount of work in very short periods of time. Mozart shows versatility and adabtability, however, he was susceptible to being overly sensitive. He wanted to be liked by others and critisism would have been painful for him.