Women Who Kill - British Institute of Graphologists

Women Who Kill
by Kimon Iannetta and Reed Hayes
Contributors: Anita Beckenstein and Stephen Borisoff
This article was initiated by the work of Peter Vronsky, author of the forthcoming book Female Serial
Killers: How and Why Women Become Monsters, which explores the history of female murderers and
the difficulties in identifying and profiling them.1
As an enhancement to his research, Vronsky interviewed graphologist Kimon Iannetta with an eye
toward determining the similarities and differences between male and female killers, based on her
assessments of their handwriting. Following the interview Vronsky noted, “Iannetta’s insights into the
differences and similarities between the genders was a sobering introduction to the psychology of the
female serial killer.”
A basic question posed by Vronsky was, “Can you tell the difference between female and male
handwriting?” While a few graphologists argue otherwise, we assert that only a reasonable, educated
guess can be made in this regard. Despite what we know about “typical” male and female behavior,
variations or crossover in the conduct and habits of both sexes make it unscientific to assert with any
confidence a writer’s gender from his or her handwriting.
Nevertheless, there are generalized differences in the handwriting profiles between male and female
killers as well as within the female killer population. Infinite variations in style make it indiscreet to
offer what is absolutely male or female. But the handwritings themselves do allow graphologists to
capture an unobstructed view of the writer on whom we can focus our examination from bird’s-eye to
panoramic proportions.
In the broadest sense, the profiling differences between men and women, or between women and other
women, seem to relate to elements of style as a function of the killer’s individual personality. That is,
their methods of killing could be interpreted as extensions of their very personalities, which may reflect
not only who they are but who they wish to be.
As men and women settle into society’s cultural expectations, their handwritings give us an
opportunity to assess their level of comfort or discomfort in their individual roles. Typically, women
still function as the more passive sex, taking on nurturing, caretaking, organizing and administrative
responsibilities. As society demands more assertive behavior from men, arrogance, pride and
aggression become more generally associated with males.
Male serial killers, as pointed out by Vronsky, often murder repeatedly to satisfy lust, seek thrills or
wield power over others. They are frequently angry and retaliatory and often act out of a need for
reassurance of their power or assertiveness.
There are, however, male “crossovers” like Ted Bundy, who worked at a women’s crisis center during
his early career as a killer. Although his murders were committed out of deeply rooted resentment
which falls into the male style range, he passed himself off as an unthreatening, sensitive co-worker.
Crossover female counterpart, Aileen Wuornos, the Florida prostitute swollen with rage and hatred
towards men, shot her “Johns” point blank. Wuornos’ shock value was being a woman who killed like
a man.
Both men and women murderers share a certain level of psychopathic detachment which allows them
to pursue the ultimate release of their anger, rage and unfulfilled needs—the killing act itself.
Rather common in the handwriting of both male and female killers is the presence of a personal
pronoun I that deviates strongly from the copybook model. This letter, symbolic of one’s self-image, is
often distorted, twisted, broken, muddied, retraced or otherwise unusual, pointing toward an odd or
distorted view of self which, when accompanied by negative facilitators, can augment the urge to kill.
(See Forensic Profiling Cards D-1, below.)
1
Vronsky’s previous book, Serial Killers: The Method and Madness of Monsters, covers the
history and psychology of repeat murderers as well as the investigation of serial homicide. Readers are
directed to Vronsky’s website (http://www.russianbooks.org/killers.htm) for more in-depth
information regarding his immensely important work.
Forensic Profiling Cards D-1
There are of course individual serial killer profiles, but the most significant difference between men
and women who kill seems to be in the women’s expert ability to act in a passive-aggressive manner
while wearing a carefully crafted persona. Comfortably playing a conventional role and often accepted
as “normal,” they blend easily into society. Their nefarious goal then becomes easier to attain and their
insidious behavior makes them particularly dangerous.
Acting out within their traditional roles, some female killers have a deep hunger for attention. They
tend to be emotionally immature, like Karla Homolka and Carol Bundy, and may play the role of “cute
little girl,” still trying to capture unmet parental attention by way of their husbands or boyfriends who
are part of the murderous equation. This type is identified by Peter Vronsky as “the accomplice.”
Generally speaking, these women lack personal strength which allows them to “go along with” a role
that is both complementary and pleasing to the significant other who is also involved in the murderous
deeds. As implied by their often crowded writing where letters closely hug one another, they may
habitually invade other people’s space, showing little or no respect for social or personal boundaries.
Before considering individual profiles, it may be pointed out that what is often overwhelmingly evident
in the writing of female killers is a stunted, retraced and/or muddied upper zone indicative of
immature, underdeveloped or clouded morals. Distorted upper zone shapes are sometimes apparent and
are suggestive of a “twisted” outlook, making for ease of justification for criminal actions. The poorly
developed or distorted upper zone is generally accompanied by a predominant midzone (usually with
considerable retracing) which reflects a limited, here-and-now attitude, a syndrome that restricts vision
and may result in ignorance of the likely consequences stemming from the murderous acts.
In evaluating the handwritings of women criminals, it is helpful to study weakness and disturbances in
the form, movement and arrangement of each writing sample. Disturbances in letter forms show ego
problems while hesitations, jerkiness or rigidity of the movement show problems with the flow of
libidinal impulses and the spontaneous release of emotions. It may be that there is excessive selfcontrol or, conversely, a deficiency of impulse control. Pressure patterns are often disrupted, showing a
disturbance of the person’s basic biological instincts.2 Disturbances in arrangement of the writing on
the page or an arrangement that is too perfect show difficulties adapting to the environment and fitting
into society as well as poor perspective and self-understanding.
Although somewhat unusual, female killers (like some males) may have odd, obsessive sexual thoughts
which distort their value systems. Aileen Wuornos and Carol Bundy both harbored a blood-lust rage
which obliterated any sense of empathy and moral considerations and facilitated their murderous acts.
In other instances the female killer acts out of idiosyncratic or paranoid thinking. In the case of
Christine Falling, twisted values resulted from compulsively convoluted thinking, readily evident in
her handwriting.
Often these writers utilize letters that are uniquely different from the norm. The more abnormal such
formations, the more unusual the person’s thinking is likely to be. Whether such thoughts support
creativity or eccentricity must be evaluated according to the milieu in which the odd letters are found.
Forensic Profiling Cards F-64
“Black Widow” for-profit killer Margaret Rudin was exceedingly organized and meticulous when
planning the murder of her husband. By contrast, hysterical Betty Broderick was deeply emotional She
was so invested in and identified with the life she had constructed with her husband that his rejection
spurred her to direct her vengeance outward. While her actions did succeed in putting an end to the one
who had rejected her, the eventual result turned that vengeance back onto her in the form of social
SUICIDE
2
Caution must be exercised in evaluating pressure patterns when working with other than
original writing. Some irregularities in pressure or movement may not show clearly while other signs
may appear disrupted when in fact they are due to the copying process. One must also consider the
possibility of a defective writing instrument as well as possible health concerns.
Women like Susan Smith, who commit infanticide to escape overwhelming parental responsibilities,
are themselves childlike, immature and repressed, and possess a limited ability to think beyond the
situation at hand. Frozen in pre-adolescence and having little or no critical or evaluative capacities
along with poorly developed morals, they can neither understand nor reflect upon solutions to remedy
their hopeless feelings of “no way out.” They become desperate and their desperation leads to murder.
There are a variety of triggers and motivational factors which influence individual methods and styles
of killing. Women living in a family violence scenario of perpetual abuse sometimes kill their abusers.
Their character is often forgiving and protective overall. However these very same qualities may
ultimately render them victims who eventually break under the pressure of unrelenting abuse, often in
self-defense or for their children’s welfare. This subset is not covered in the profiles below, as they do
not fit the same general category as those women who kill out of deep seated anger or for self-serving
purposes.
To reiterate, the most outstanding difference evident in women who kill, as opposed to their male
counterparts, rests in their ability to fabricate a methodically crafted persona, a façade of cultivated
charm and seductive, ingratiating behavior. Male killers seem to be much less interested in role playing
and more drawn to sex as a tool for domination.They often need to avenge their “honor” and pride.
As their often stylized handwritings reveal, many female killers have an obsession with their personae
(how they present themselves to others) and their singly directed preoccupation with maintaining
appearances of normalcy, allow them to seamlessly interact within their social milieu, even “passing”
as paragons of upstanding character like the perfect spouse or the perfect mother. The tremendous
energies expended in cultivating their “normalcy” belie poor impulse control crouching just beneath
the surface. In a vulnerable moment, an unguarded impulse breaks the brittle mask.
Profiles
The subjects presented here were chosen for their notoriety and/or their individual killing styles.
Handwriting features noted are not all inclusive and readers are directed to Iannetta’s Danger Between
the Lines and Forensic Profiling Cards for more in-depth considerations. Abbreviations used are:
PPI=personal pronoun I; UZ=upper zone; MZ=midzone; LZ=lower zone.
Aileen Wuornos. Florida prostitute who shot her “Johns” at point blank range. Filled with rage and
aggression as indicated by her exceptionally sharp, spiked writing style full of jabs and all held under
wraps by repression (tightly squeezed letters) until the point of explosion. Strong focus is shown in the
concentrated, rather careful writing and precisely placed t crosses. Letters that jut below the baseline
point to negative unconscious motivations and aggressive behavior, intensified by letters growing
successively larger. The PPI is rigid, retraced and unpleasant, and the UZ formations are constricted,
showing restricted or undeveloped ethics.
Karla Homolka (2 samples). Canadian who married serial rapist Paul Bernardo with whom she
tortured, raped and killed women—one of them her younger sister—all in an effort to please Bernardo.
Homolka is a narcissist whose identity depends on how her image is reflected back to her through the
eyes of her beholders. As an exhibitionist, she needs an audience. Her craving for attention is
evidenced in idiosyncratic i dots and strange letter formations, along with essentially MZ writing. She
would do anything to “belong,” including murder, particularly with an underemphasized UZ (poorly
developed ethics and morals) and tangled lines (confused thinking). LZ “ladles” suggest an unsatisfied
emotional life and a resulting constant search for fulfillment. Letters plunging below the baseline (e in
“come” and t in “about,” first sample) denote underhanded aggression.
Carol Bundy. Serial killer who teamed up with Doug Clark to commit ugly, brutal killings of LA
prostitutes. While victims were engaging in sex with Clark, Bundy would shoot and then decapitate
them so that he could masturbate into the skulls. The writing demonstrates poor form level in its highly
variable slant, spacing and pressure patterns; form, movement and arrangement are all disturbed.
Muddied letters denote unbridled passion and a tendency toward excess, augmented by the overall lack
of stability in the script. Odd, changeable PPIs show an uncertain self-image while their reversal points
to defiance—resistance to what is acceptable. Retraced UZ formations indicate underdeveloped morals.
MZ letters are frequently repressed and, along with disrupted pressure and lack of self-discipline, set
the stage for sudden outbursts, particularly given the intense anxiety shown in retracings (see “think,”
“than” and “dead”) and reworked letters (“issue”).
Christine Falling. Epileptic, hypochondriacal and reportedly dull-witted, Falling killed a number of
children and an elderly person who had been placed in her care. Her killing method of choice was
“smotheration” in response to voices chanting, “Kill the baby” after which she simply reported that the
child had “stopped breathing.” Distorted ethics (twisted UZ forms) and odd ideas (bizarre letters such
as g in “doing” and capital H) are seen along with poor self-worth (disrupted PPI, low t crosses and
mundane script). Ground-in dots denote anger and obsessive thinking while x formations (“Me” and
“one”) suggest invasive thoughts about death. Essentially MZ writing with undeveloped UZ implies a
limited outlook and no sense of ultimate consequences.
Margaret Rudin. Dubbed the “Black Widow” for having murdered her fifth husband to get at his $11
million fortune. Rudin was a former socialite with a sweet, grandmotherly Southern Belle demeanor,
but her actions were purely for profit. As with Betty Broderick (below) the line of Rudin’s writing
appears to flow smoothly, but on closer examination there are numerous segmentations, denoting a
basic lack of integration in the personality and an ability to compartmentalize thoughts and actions.
This correlates with the persona nature of the writing and an urge for attention as seen in final strokes
that curve upward and leftward. Unfulfilled, confusing emotional needs are suggested by LZ ladles
tangling with the lines below. Bizarre letter forms (d in “expressed”) show convoluted thinking and
strange ideas, yet there is a certain resolve in the organization of the writing, strong t crosses and firm
downstrokes.
Betty Broderick. Became obsessed with hatred towards her husband after discovering he was having an
affair. Following their divorce, Broderick purchased a revolver and burgled the ex-husband’s home,
murdering him and the new wife as they slept. Broderick continues to insist on her innocence,
maintaining that she was the real victim. The writing trail at first glance appears fluid and connected,
but contains considerable segmentation (note “at” and “visit”) indicative of weak boundaries between
conscious thought processes and unconscious urges. In this writing there is, again, a PPI which plunges
into the LZ, showing underhanded aggression closely tied to her self-image. Strong resentment is
apparent in the initial braced stroke of the signature, and anger is evident in the initial “tic” on the first
word. Passionate response and swift expression are seen in the rightward slant and strong t bars.
Judith Neelley. (Sample enlarged to approx. 130%.) Acted as an accomplice to her husband to lure
women into his grasp. Together they committed up to 15 murders preceded by rape, abuse and
molestation. The generally soft, flaccid nature of her writing implies overall weakness of character and
a tendency to give in to others and/or her own inner urges. Her PPI is retraced, variable and distorted,
suggesting an uncertain and changeable self-view, while strange letters (d and p) show odd thinking.
The “felon’s claw” formation in T of “truly” shows devious, underhanded behavior. Slashed dots and
cross strokes evidence a mean-spirited nature. Variable pressure patterns further suggest erratic
emotions, there is very erratic pressure pattern in the flow of the ductus and poor self-control (note
difference in pressure between two instances of the word “never”). However, the tied letter t portrays
persistence, albeit negatively utilized.
Myra Hindley. Acted as accomplice to her lover Ian Brady in the murder of 10 year old Leslie Ann
Downey and 17 year old Edward Evans. Hindley’s philosophical views were distorted (bent upper zone
formations), her emotional responses cool (vertical script) and her inner life unfulfilled (lower zone
ladles). Poor self-worth shows in exceptionally low t crosses and slow, deliberate movements.
Although relatively intelligent, odd letter forms suggest strange thinking (see especially distorted
letters m and b). There is no question that she wore a mask and kept her emotions under tight wraps as
indicated by the carefully produced, vertical persona writing.
Susan Smith. Seat-belted her two young sons into her car and plunged them into a lake where they
drowned; afterwards she claimed they were kidnapped by a black man. The writing is exceptionally
mundane (shown by a predominant MZ), immature (childlike writing style) and repressed (squeezed,
retraced letters) which together reflects lack of discrimination and self-understanding. Its carefulness is
indicative of a façade of normalcy and a desire to create a certain impression. Poorly defined morals
are reflected in the stunted UZ and exceptional self-underestimation in the very low t crosses,
especially those that are concave which point toward a victim mentality. Distorted letters (w in “will”)
and segmentation (y in “my”) show illogical thought processes. Smith likely felt there was no other
way out from the pressures of motherhood than to dispose of her children.
Infanticide. Military wife who was having extramarital affairs, convicted of smothering her young
daughter. Note lack of integrity or cohesiveness in the writing, stunted upper zone, variable and
distorted PPI and retracing in MZ. Thought processes are uncertain (poorly formed letter shapes and
considerable variability of letter form) and very mundane (largely MZ writing). Closely-spaced words
(especially “her or”) indicate intrusion into others’ personal space. There is considerable anxiety in the
ground-in dots, corrections and cross-outs, as well as repression in the closely retraced MZ and UZ
letters.
Holly Harvey. 15 year old who, together with her 16 year old girlfriend, murdered her grandparents
because they would not allow her the freedom of taking drugs and having a female lover. Note odd
letter formations (especially f) suggestive of unusual thought processes. Lack of space between letters
and invaded circles (as in “afford,” “for” and “to”) show poor social boundaries and intrusiveness,
supported by angular/distorted e’s reflecting lack of concern for others’ rights. Ground-in dots reveal
temper and excessive emotional focus or obsessive thinking. An underdeveloped, retraced and
occasionally twisted UZ along with large MZ implies poor ethics and a here-and-now approach.
______________
“Sadistic stepmother” military wife (top sample) and her uneducated nanny (bottom) who was hired to
care for the stepchildren. The stepmother tortured and abused the children for years and then, at her
direction, the nanny continued the torture until the youngest boy eventually died. The stepmother’s
writing is clearly stronger and more dominant. She is more intelligent, more passionate and goaldirected. Her disturbed sense of self (distorted PPI), underhanded behavior (“felon’s claw” in “Thank”)
and intense anger (angular f loop) combined to create an entirely negative picture of someone who
fiercely wanted her way. The nanny’s rather soft, compliant nature and underdeveloped thinking
allowed her to take orders from the stepmother and go along with the torture. Clearly she has little selfdirection and, like some other killers, was able to disengage herself from her horrific actions (see
segmented letters such as d in “and” and “whipped”).
“Jealous rage killer.” Stabbed her lover to death in a fit of jealous rage. The writing shows passion in
its strong forward slant, elongated t bars and rightward movement. Firm downstrokes suggest strong
resolve while the upward direction lends intense energy. Yet there is considerable confusion of thought
in the tangled lines and poorly formed letters (“Hospital” and “because”), intensified by the impulsive
forward direction which causes the lines to crash into the right side of the paper. The PPI is twisted and
variable, denoting a troubled self-image. Initial “tics” portray inner frustration. For all of its rightward
direction, individual letters are at the same time retraced and tightened, evidence of repressed emotions
and lack of self-understanding. Dish-shaped t crosses suggest the “victim type” and a tendency to give
in to internal and external forces. The writing is far removed from the designed-to-impress persona
writings of some other female killers.
Author Bios: Kimon Iannetta has three decades of experience working with law enforcement, security
professionals and human resources specialists. Her profiling techniques add another dimension in
identifying high-risk potential in employees, patients, prisoners and criminals. Additionally, her
knowledge of graphology assists in tracking and targeting suspects and understanding timelines of
criminal behavior. As the founder of Trial Run, she performs jury consultation, witness profiling and
pre-trial evaluations for attorneys. She is the author of Danger Between the Lines, a reference manual
for profiling violent behavior, and its companion tool, a set of 124 Forensic Profiling Cards, and she
provides tutoring and training sessions in the use these resources. Kimon is also the author of Precision
Personnel Placement, a hiring and management tool for human resource professionals. She is a
lifetime fellow of the American College of Forensic Examiners, a member of the American Society of
Industrial Security and is certified, Diplomat Status, by the American Board of Forensic Examiners.
Her website address is http://www.trialrun.com.
Reed Hayes is a long-time graphologist who focuses his expertise on the examination of questioned
handwriting and documents as well as the evaluation of handwriting for personnel screening purposes.
He holds certifications from the International Graphoanalysis Society and the National Association of
Document Examiners and is board certified in behavioral profiling by the American College of
Forensic Examiners. Reed is the author and co-author of several articles and books including Forensic
Handwriting Examination: A Definitive Guide (2006), Written in Crime (1995) and Between the Lines:
Understanding Yourself and Others Through Handwriting Analysis (1993). He lectures extensively on
various aspects of handwriting and is a frequent contributor to graphology journals. His website
address is http://www.reedwrite.com.
Anita Beckenstein began her graphology studies in 1985 in New York City with Felix Klein. She
resides in the Los Angeles, CA area with her husband, Neil, an engineer and graphologist also
instructed by Felix Klein. For two decades Anita has participated in multiple areas in the field of
handwriting examination: employment profiling, jury selection, compatibility profiling, personal
potential assessment, research, speaking and writing. Her e-mail is tribecka@socal.rr.com.
Stephen Borisoff has been working as a professional handwriting analyst for the past 38 years. He is
certified by the International Graphoanalysis Society, has studied extensively with graphologist Charlie
Cole and is proficient in the Roman Psychogram method. He has a special interest in European Holistic
and Gestalt Graphology systems which include the methods of Ulrich Sonnemann and Bernard
Wittlich. Stephen offers his services as a tutor who works on-line and by telephone to help students
gain a methodical and holistic understanding of Kimon Iannetta’s books and methods. He may be
contacted by email at borisoff@verizon.net.
-o0o-
LETTER FROM AUSTRALIA
Books. How many Graphology reference books do you have on your bookshelves?
It is amazing how many people have written books about aspects of our subject. There always seems to
be a different emphasis to add to the scope of our increasing knowledge.
In Australia it is difficult to obtain Graphology books....the booksellers are reluctant to import them
other than on special request. Over the years, I have acquired an expansive library by constant
searching for treasures in second hand bookshops as well as the shops in the malls etc. Out of my 200
approx. books, I do have two favourites. One in French language called Graphologische Diagnostik by
W.H.Muller und A. Enskat bought in Europe and Handwriting Tells by Nadya Olyanova bought in
Canada.
I sometimes wonder if there will be a time when there will be sufficient demand to encourage a local
publisher to produce a volume with Australian content. Who knows?
Greetings from Australia (down under) Meryl Bolin
Editor's Note: The winter journal comes with the booklist from our bookshop, so as we are more
fortunate than the Australian graphologists in this respect, do take time to browse through what is on
offer and maybe get yourself some Christmas presents from the list.
INTERESTING PEOPLE
CHARACTERS always add something to the experiences of the people around them and we are
indebted to Bridget Hickey an Affiliate member and a long-time graphologist, who shares her father
with us. She has returned to her roots in Gainford, a pleasant village near Darlington in the north of
England and, being a 'character' herself, it is not surprising that she comes from a long line of
characters in the local community. Her grandfather and father were doctors, with their own quirky
personalities. Bridget's writing is full of individuality as you can see, with the excellent dovetailing of
a lady who fits a great deal into the time she has. Now 78, she first ran the London Marathon 9 months
after being diagnosed with breast cancer and her last marathon was run when she was 73 with her best
time of four and a half hours! Her running raised £33,000 for charities. We can see in her writing the
energy, the positive attitude with the upward sloping lines, the thoroughness in the well-formed and
joined letters, with the knotted 't' bars and the rising strokes at the ends of the words showing that she
goes for goals and won't wilt under pressure. She's still going strong and has many interesting
graphological stories to tell, so has promised to produce some for future journals.
Here is her father's writing with the 'D; showing the non-conforming aspect of his nature, with the
crossed strokes at the top. His writing also shows energy and focus Note the lower case in both
writings is similar, in the loops that are wide and energetic. Bridget says that he was a eccentric and
very much an individual. Often he rode his horse to visit patients and early on he had a pet fox, which
he had in the house. He rode his fiery horse in the house also, to prove he could control it and not break
furniture or crockery, to the annoyance of his wife, but that wouldn't have stopped him.-
ANOTHER character is Malcolm Head, who has been a dredgermaster for forty-five years. His story is
told by Maureen Dennis, who has studied graphology and is keenly interested in people.
Malcolm Head never wanted to become a dredger master. He would prefer to be an entertainer – to
sing, dance and tell funny stories. The opportunities to perform were few and far between in the 60s so
he sought employment between engagements as a labourer on a dredging boat on the Thames. His
sensitivity is seen clearly in the writing and his early ambitions for acting would have given him the
means to be in the world without having to open up his sensitiveity, as he could move outside his
private self and into his public performance. At first he was just a deck hand then he progressed to
“shoal dredger”. Ten years later he was promoted skipper or “dredger master where he would have
taken his responsibilities quietly and seriously. His high upper zone is direct and he had no illusions
about life.
In his writing, below, we see the diligence in the careful joining of all the letters, the shyness in the
delicate writing with the small middle zone and the need for privacy in the closed loop at the top of the
personal pronoun. People who work on the water are never in a hurry. They like space and time to
think and have to move in rhythm with the water. They have to change their pace with the seasons In
winter the river is in full flood and it can generate an enormous swirling flow of water especially above
a weir. The days are short and the wind can bite but the traffic is less and there is space on the river.
The writing moves like swirling water and the spacing shows his timing while the dovetailing of the
zones shows that he can be quick witted in an emergency, such as when inexperienced people get into
trouble on the river.
Where and how to dredge the river takes skill The skipper has to read the “Dredger Map”to identify the
shoals and shallows. He has to calculate to keep the dredger away from the banks at a distance three
times that of his dredging depth. He must go up stream all the time, securing the dredging barge by
three anchors; two to left and right of the bow and one straight astern. The pressure of the writing is
light and the sensitivity shown in the script gives the massage that he likes time to think, also shown in
the arcade letters and he also, with the left slant, likes to be his own master. He won't be rushed and
yet he likes the simplicity of the life. The concentration with the joining of most letters indicates that he
can stay focused and do one thing at a time, filtering out what might distract him.
NOTICES
FROM CANADA, Dor Gauthier has let us know that November 21 was the two hundredth birthday
of Abbe Michon. He says: “ I would like to draw your attention (just in case you are planning a trip to
Paris and you are kind of nostalgic.) that there is a commemorative marble plaque in front of the house
where Michon wrote his "Système de Graphologie" in 1875. It is located on the 5, de Chanaleilles st.,
close to 1 Vaneau st., the building where Madame Koechklin (St-Morand) and André Gide had also
their own apartment.
OBITUARY
BRUNO VETTORAZZO, one of the founders of the Italian Graphological Society, teacher at the
Graphological School of the University of Urbino, died on 30th October 2006.
He had been a speaker in many Conferences and had written articles and books on graphological
expertise "Grafologia giudiziaria e perizia grafica"and "Metodologia della perizia grafica su base
grafologica" edited by Giuffré.
He leaves an example of skill, professionalism and tireless activity to graphology and
handwritingexpertise.
Greek Goddesses: a brief introduction to feminine archetypes
In September Teresa Dane Marcel from the USA, who previously has addressed the B.I.G .on the
subject of Face Reading, gave a most enjoyable presentation at the Soroptimist Club on the feminine
archetypes – Greek Goddesses. She has kindly provided a summary for the journal so that those who
were not able to attend, can share what was presented.
Introduction: The most basic question everyone in search of a deeper sense of self formulates is
“Who am I – deep down, at my very center?” There are, of course, many paths we may choose to take,
consciously and unconsciously, as we search for that very center. In that process, how we go about it
and how we deal with the world manifests itself through our personality types, through the archetypes
which become active within us. Philosopher Jacob Needleman, speaking of the deep questions of the
heart, made the following analogy:
“… a great body of wisdom – what I call the wisdom tradition … is at the root of all the
great religious traditions and spiritual philosophies of the world, of the Western world as
well as the Eastern world, the teachings of Native American and tribal societies, in China,
Japan, India, Europe. … (and) if you go deeply into these traditions, and really study the
great exponents of them … you’ll find a startling commonality. It’s like many, many
different paths leading up one mountain. They start from different places, perhaps, different
geographical locations as it were; but as they go up the mountain, toward the transformation
of human nature which is their aim, they become similar, so that what looks very different
over here and over here, becomes very similar as they go up the mountain, until at the top of
the mountain, which is the state of wisdom, they are practically identical.”
Jacob Needleman, Goodrich Lecture, Indian Springs School, January 22, 2004
In our own lives and quests for self-knowledge, we are all making our way to the top of the mountain,
where we find our center. However, the path we take – how and who we are as we ascend the mountain
– is both different and similar to that of others. It has commonalities we recognize – sharing a ‘path,’ or
speaking the same ‘language’ (personality type), for example – but the combination of pace, rhythm,
detours, shortcuts, attitude, and so on, is uniquely our own.
Although the Greek Goddesses are generally more applicable to women, the personality aspects and
psychological needs they represent are present in both females and males. As Jean Shinoda Bolen
points out in her classic work, Goddesses in Everywoman, “the Olympians had very human attributes:
their behavior, emotional reactions, appearance, and mythology provide us with patterns that parallel
human behavior and attitudes. They are also familiar to us because they are archetypal; that is, they
represent models of being and behaving we recognize from the collective unconscious we all share.” 1
An archetypal expression, whether described through the myth of a Greek Goddess, may be the “path”
a woman takes for the entirety or a good part of her life. Or, it may happen that she suddenly realizes
she is living the “wrong myth” – a myth which no longer suits her. In other words, the archetype a
Greek goddess symbolizes may be more active at different times of life. And, of course, some
archetypes may never surface at all.
Bolen addresses seven Greek Goddesses, which she places in three categories. These are: Virgin
goddesses (Artemis/Diana, Athena/Minerva, Hestia/Vesta), Vulnerable goddesses (Hera/Juno,
Demeter/Ceres, Persephone-Kore/Proserpina) and the Alchemical (trans formative goddess):
Aphrodite/Venus. Bolen further clarifies: “Modes of consciousness, favored roles, and motivating
factors are distinguishing characteristics of each group. Attitudes toward others, the need for
attachment, and the importance of relationships are also distinctly different in each category.
Goddesses representing all three categories need expression somewhere in a woman’s life – in order
for her to love deeply, work meaningfully, and be sensual and creative.” 2
However, whatever the form and ‘typology’ she typifies, each Goddess in her own way, at her essence,
ultimately offers a path to our deeper Self, to our soul – because each ‘part’ (archetype, personality
type) contains the whole, and the whole can be found in any one part.
1st Triad: Virgin Goddesses:
Virgin goddesses represent innately independent, self-sufficient, competent and autonomous qualities
in women. They are generally not susceptible to falling in love, but actively seek their own goals...
1. Artemis – keeper of independent feminine wisdom
Artemis, Goddess of the Hunt, represents the goal-focused archer who models our ability to
concentrate intensely on that which is important to us, to remain undistracted from our course, and get
right to the point. Paradoxically, she also symbolizes absolute femininity, the part of ourselves that
thrives within sisterhood.
In Greek mythology, the Goddess Artemis is probably the one who best exemplifies the innate
feminine need to be at the same time independent and virginal – one-in-oneself, to hold parts of
ourselves in private, inviolable to all prying eyes, and shared only with those of our own choosing. Her
virginal aspect relates not only to her comfort within Nature, but also to a wild, uncivilized part of
herself that is unwounded, unpenetrated by anyone, man or woman. She is the keeper of independent
feminine wisdom. As an archetype, her stories and myths speak to the aspects of ourselves that are
natural, wild – and naturally wild.
Artemis also symbolizes not only our very deep need to be connected to nature, but also to our need for
solitude, and makes the connection between solitude and soulfulness. On a deeper level, Artemis, the
Goddess to whom women in childbirth turned for help, acts as midwife as we ‘birth’ our own soul
through our connection with nature.
As a personality type, the Artemis woman is outward/achievement oriented, goal focused, and actually
feels whole without a man. In fact, she tends to relate to men more as brothers or mates. She is
independent, active, most at home in the great outdoors. . Perseverance, adventure, and the exploration
of new territory are key to her. She values fairness and her sisterhood of women. On a psychological
level, aspects of her personality which eschew relationship represent inner drives to pursue interests,
develop talents, solve problems, compete, express herself, put surroundings in order or lead
contemplative lives. Her motivation does not come from admiration of other people, but from being in
touch with her own center. Her greatest wound, her shadow side, however, is that she is not at home in
the city, in the civilized world of rules, regulations and confining, polluted air. She aggressively
protects those who are vulnerable, and protects her own vulnerability through solitude – in the great
outdoors, if she possibly can.
Graphologically, strong influence or predominance of the Artemis archetype in a woman’s personality
is exemplified in this writing sample:
2. Athena – keeper of the wisdom of the mind
As Goddess of Wisdom and Crafts, Athena combines working with both hands and mind. She upholds
our innate intellectual wisdom, abilities as a rational thinker and strategist, as well as craftsmanship in
the outer and inner worlds.
As a psychological type, the Athena woman has often been mistaken for – or accused of being – a
‘pseudo-man’: she is the father’s daughter, the woman who is at ease and naturally good at things
traditionally considered the domain of men: being outward and achievement oriented, logical, a good
thinker, a tactician in conflict, and one who, like Artemis, focuses on what matters to her. She is a
strategist, diplomatic, and skillful with both hands and mind. She has foresight, plans well, is patient
and intent on the mastering of craft. She is an idealist, whose modern day battlefield is often the
boardroom of the corporate world.
The shadow side is that an Athena woman often does not feel feminine – she is, after all, a warrior
virgin, and a warrior is well armoured. Being well armoured, in turn, can lead to becoming impervious
to feelings, and the focus on facts and details can be devitalizing, resulting in a lack of empathy. And,
although she is civically involved and responsive, when it comes to looking inward, like Athena, she
turns away from mirrors: Athena wore the aegis, which is the head of the Gorgon with its snaky locks,
which covers and protects her breast, but also cannot be looked upon with the naked eye.
Graphologically, strong influence or predominance of the Athenian archetype in a woman’s personality
is exemplified in this writing sample:
3. Hestia – keeper of the wisdom at our centers
As Goddess of the Hearth, Hestia symbolizes the archetype of inner centeredness, our need and ability
to return to the ‘still point’ which burns at the center of ourselves, our homes, our families, of the
Earth. She represents consciousness focused on inner subjective experience for those of us to whom
both being present to each daily task and surrounding ourselves with family and friends, is a
meaningful, centering activity equivalent to meditation – a means through which we put ourselves –
our Home – in order.
Within every temple to each Greek god and goddess, there was a hearth fire and every offering to every
god was preceded by an offering to Hestia. Hestia was therefore present in every day, in every place
that the Greeks lived and worshipped. In fact, the word focus is derived from the word for hearth.
This focus on the center point is key to the Hestia archetype. A Hestia woman is an introverted, selfsufficient “old soul”, who creates a home where she is sheltered from the outside world, from time
itself, and where she can enjoy solitude, harmony and tranquility. She is quiet, unobtrusive, and her
presence exudes warmth and peaceful order. Her ability to focus on what’s personally meaningful
helps her perceive that which is the essence of a situation. She is the wise woman, the elder who has
seen it all, and come through with her both her spirit un-dampened and her character tempered by
experience. She is not attached to people, outcomes, possessions, prestige or power.
On the shadow side, although she enjoys surrounding herself with family, she can also be emotionally
detached and inattentive to others as she attends to her own concerns – which is something of a logical
‘side effect’ of focusing on inner centredness, on the ‘still point’ within.
Graphologically, strong influence or predominance of the Hestia archetype in a woman’s personality is
exemplified in this writing sample:
2nd Triad: Vulnerable goddesses:
These goddesses represent the traditional roles of wife, mother and daughter, and are relationshiporiented archetypes whose identities and well-being depend on having a significant relationship. They
express women’s needs for affiliation and bonding, are vulnerable and attuned to others.
4. Hera – watchful keeper of the sacred marriage
Mythologist Joseph Campbell once said that at a deep, basic level, “woman is life, man is the servant
of life” – not servant of woman, nor master of either woman or life! – but in a sacred partnership with
life. As Goddess of marriage, fidelity and relationships, Hera’s watchful role is to safeguard the
sacredness of our own internal ‘marriage’ and partnership between feminine and masculine aspects of
ourselves, the intra-psychic union or mystical reunion of the opposites within us. As such, she has
opposing key characteristics: she is both innately loyal, and a disempowered observer.
A woman governed by Hera’s archetype feels fundamentally incomplete without a partner. She is
ambitious for her mate, and both her husband and marriage bring her perceived prestige, respect and
honour. With her unrestricted fidelity comes the expectation of fulfillment through her partner: she
gives up her individuality for the sake of partnership, which, in turn, can disempower her. She has
great capacity to bond, to be loyal and faithful, and to endure difficulties with a partner.
Hera’s negative pattern predisposes women to misplace blame due her mate onto others. She reacts to
loss and pain with rage and activity, rather than depression, as do Demeter or Persephone. She is
therefore very jealous, insecure and vindictive – but she does not repress her anger!
Graphologically, strong influence or predominance of the Hera archetype in a woman’s personality is
exemplified in this writing sample:
5. Demeter – keeper of the wisdom of outer cycles
As goddess of harvest, grain, and abundance, Demeter represents the nurturing mother within us all par
excellence! She shows us the joys of Mother Earth as well as motherhood in all forms: love,
connectedness, giving life, nourishment, nurturing, abundance – both physical and psychological. She
also reminds us of the painful side of mothering and relationships: the grief of unavoidable separation,
of letting go of that which we outgrow.
The Demeter woman is the helper, the caretaker, the giver, the nurturer. She is patient and generous.
She is the maternal archetype. Her maternal instinct is fulfilled through pregnancy, as well as the
physical, psychological or spiritual nourishment to others. Relationships with her children, and
daughter in particular are the most significant relationships in a Demeter woman’s life. She gains
satisfaction as the caretaker and provider, and tends to go into the helping professions as a teacher,
nurse or counselor, for example. She is persistently the generous mother, provider of abundant meals
for family and friends.
Her shadow side predisposes her to depression, where she will stop functioning or become the
destructive mother if her need to nurture is either rejected or thwarted. As her children or charges grow
more independent or autonomous, she will experience this as an emotional loss and rejection, resulting
in depression or giving rise to the angry and destructive mother who withholds approval, for example.
Graphologically, strong influence or predominance of the Demeter archetype in a woman’s personality
is exemplified in this writing sample:
6. Persephone – keeper of the wisdom of inner cycles
Persephone as maiden symbolizes the cyclical nature of growth and renewal – from the new beginnings
of spring, through maturation under the summer sun, to the harvesting of abundance in the autumn. As
Queen of the Underworld, she represents that which goes underground in winter, and guides us in the
journey through the inner depths of our own psyche. Closely tied to each other, Mother and Daughter
Demeter and Persephone symbolize the unending cycle in which that which is inner is birthed into the
outer world, then returns inward.
As a maiden, the Persephone archetype is found in the young girl who does not know who she is. She
is her Mother’s daughter, the good girl, to whom Mother knows best. She is obedient, compliant,
cautious, often sheltered or protected. She is the child-woman, full of possibilities, but quite unaware of
her sexuality or beauty. She is what Esther Harding calls the Anima Woman: “all things to all men….
Adapts herself to his wishes, makes herself beautiful in his eyes, charms him, pleases him… not
sufficiently aware of herself to be able to give a picture of what her subjective life is like… generally
unself-conscious; she doesn’t analyze herself or her motives; she just is; and for the most part she is
inarticulate.” 3
Persephone’s role of guide to underworld is the result of the maiden’s innocence being shattered as she
is abducted and forced into a psychological and emotional journey into Hades. This experience gives
her the ability to move back and forth between the ego-based ‘real’ world and the unconscious or
archetypal reality of psyche. She can mediate between these integrate them into her personality, as
well as serve as a guide for others who “visit” the underworld or who are “abducted” and lose touch
with reality through dreams, fantasies and psychiatric disorders.
Graphologically, strong influence or predominance of the Persephone archetype in a woman’s
personality is exemplified in this writing sample:
In a class all her own: the Alchemical Goddess
7. Aphrodite – keeper of the wisdom of the heart
Aphrodite, Goddess of Love and Beauty, also called the ‘Alchemical Goddess,’ symbolizes the
transformative and creative power of love which drives us to deep relationship, to ‘know’ another.
Though much talked about, Aphrodite, like both Artemis and Athena, has been devalued – and feared –
in our culture. She is, nonetheless, core to our feeling of ‘aliveness’. She generates love and beauty,
erotic attraction, sensuality, sexuality and new life. Never victimized, she both enters into relationships
of her own choosing and maintains her autonomy, like a virgin goddess. She is both focused and
receptive, and seeks intensity in relationships rather than permanence. She values the creative process
and is open to change.
As an archetype, Aphrodite is the lover, the procreative instinct, the tremendous creative force that
leads to change: through her come attraction, union, fertilization, incubation and birth of new life. She
relates person to person, but her union with the ‘other’ need not be a person: it may well be a painting,
dance form, musical composition, invention, or manuscript – something that is, for a time, allabsorbing and fascinating.
The Aphrodite woman values intense emotional experience and relationship more than independence.
She seeks to consummate relationships and generate new life – physically or creatively. This urge to
consummate, to have intercourse (synonymous with communication & communion) is a deep-seated
urge toward completion or perfection; whereas the need for union, to join together as one, is the need
to know and truly understand another. Aphrodite generates both the desire to know and to be known.
As person, an Aphrodite woman is engaging, charming, magnetic and attractive, though not necessarily
pretty.
Graphologically, strong influence or predominance of the Persephone archetype in a woman’s
personality is exemplified in this writing sample:
Note: Although the bibliography for this article would rightly include works by Ginette Paris, Christine
Downing and Roger & Jennifer Woolger, to name a few, most of the material contained herein is
derived from Jean Shinoda Bolen’s classic Goddesses in Every Woman. My gratitude and appreciation
goes, also, to Elaine Quigley for providing the insightful graphological examples.
References:
1. Bolen, Pg 15
2. Bolen, Pg 16.
3. Harding, Esther, quoted by Bolen.
The British Institute of Graphologists
Genevieve Davidson Smith
132 The Close, Salisbury, Wilts, SP1 2EY Tel 01722 335 486 email gennycds@aol.com
BOOKS FOR SALE – December 2006
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YALON, Dafna (editor) Graphology Across Cultures: a universal approach to graphic diversity 2003, paperback, 270pp,
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B.I.G. (Ed. Quigley) OXFORD 2005 : Proceedings of the 8th British Symposium on Graphology* Paperback, 134pp, 8 x 11 £12.00
B.I.G. (Ed. Bradley Cambridge 1989: collected papers from the 2nd British Symposium on Graphological Research * Paperback, 205pp,
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SINGER, Eric Handwriting and Marriage : a guide to compatibility (1953) 1991 reprint, paperback, 100pp, 5x7 - £3.50
…………………………………………………………………….
AMEND, Karen & RUIZ, Mary S. Handwriting Analysis: the complete basic book. Chapters on: zones, slant, pressure, size and spacing,
speed, rhythm and form quality, strokes and shapes, connectedness and disconnectedness, self-image concepts, letter specifics, danger signs,
children's handwriting, tips and guidance for doing your own analysis. 1980, paperback, 196pp, 7x10 - £18.50
B.A.O.G. Research Team Sublimated Writings: an investigation into integrated stylisations 1998, spiral-bound, 101pp, 8x11 - £15.00
BEAUCHATAUD, Gabrielle (translated by Alex Tulloch) Learn Graphology: a practical course in fifteen lessons (1956) 1988, paperback,
276pp, 5x8 - £24.50
BECK, John Collected Papers on Handwriting Movements and Jungian Graphology* - reprints of articles which first appeared in “The
Graphologist” 2000, spiral-bound, 54pp, 8x11 - £12.50
BRADLEY, Nigel (editor) Oxford 1987: collected papers from the 1st British Symposium on Graphological Research*, Paperback, 190pp,
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BRADLEY, Nigel (editor) Graphodigest 2000: The first Virtual Conference for Graphology. Papers include the Collective Unconscious,
Idengraphy, Dynamic Graphology, Middle Zone research, Open Letters, poetry, Anonymous Letters, Children, International Vocabulary. 2000,
paperback, 246pp, 6x8 - £30.00
th
BRADLEY, Nigel A Multi-Lingual Dictionary of Graphology (4 edition) 2001, paperback, 108pp, 4x8 - £15.00
BRADLEY, Nigel 100 Studies in Handwriting & Related Topics 1989, paperback, 118pp, 6x8 - £10.00
BRADLEY, Nigel Graphology Digest Factbook 1999, paperback, 286pp, 6x8 - £30.00
BRANSTON, Barry The Elements of Graphology 1995, paperback, 135pp, 5x8 - £5.99
BUNKER, M.N Casebook No. 1 - Case Studies of a Graphoanalyst 1953, hardback, 194pp, 5x8 - £7.50
BUNKER, M.N. Casebook No. 2 - Case Studies of a Graphoanalyst 1958, hardback, 194pp, 5x8 - £7.50
CAHN, Miranda How Compatible Are You? - reveal the secrets of your relationships using handwriting analysis. 1997, paperback, 246pp, 5x8
- £5.00
CAILLE, Émile (translated by Alex Tulloch) Characters and Handwriting (1957) Chapters on the handwriting of the nervous character, the
sentimental character, the choleric character, the passionate character, non-emotive secondary characters, non-emotive primary characters.1991
reprint, paperback, 307pp, 5x8 - £35.00
CARMI, A. & SCHNEIDER, S. (Ed.) Experiencing Graphology* - a collection of 30 articles on various aspects of graphology divided into 5
sections: general topics, psychology, art, treatment, law. 1988, paperback, 475pp, 6x9 - £26.50
COHEN, Frits & WANDER, Daniel Handwriting Analysis at Work : how to use graphology for success in business. Sections on: what is
graphology?, fitting the right person to the right job, graphology as a key to personality and job aptitude, analysis and report. 1993, paperback,
208pp, 6x9 - £8.99
CREPIEUX-JAMIN, Jules Handwriting and Expression Translated by John Holt-SchoolingIntroduced by Nigel Bradley 2002, paperback,
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CRISTOFANELLI, Pacifico & TORBIDONI, Lamberto (translated by Paul Ferguson) The Graphological System of Girolamo Moretti and
his Typology of the Four Temperaments 1993, spiral-bound, 99pp, 8x11 - £15.00
DESENCLOS, Hubert Cautious Graphological Meanings 1995, spiral-bound, 75pp, 8x11 - £12.50
DESENCLOS, Hubert How to Interpret Handwriting 1995, Hardback, 144 pp, 8 x 10 - £9.95
DE PETRILLO, Vincenza & MILLEVOLTE, Alessandra The Application of the G. Moretti Graphological System 2000, paperback, 140pp, 7x9 £14.00
DOSCH, Esther Graphology of the Stroke Text in French & English (IGC) 2004, paperback, 71pp 8 x 11 - £17.00
GILLE-MAISANI, Dr Jean-Charles (translated by Paul Ferguson)
The Planetary Types in Handwriting 1990, spiral-bound, 61pp, 8x11 - £15.00
GILLE-MAISANI, Dr Jean-Charles (translated by Robert Laversuch) The Psychology of Handwriting (1978) 1992, paperback, 349pp, 5x8 £17.95
GREENE, James & LEWIS, David The Hidden Language of Your Handwriting 1988, hardback, 255pp, 6x9 - £4.95
GULLAN-WHUR, Margaret The Secrets of Your Handwriting (previously published as "The Graphology Workbook" & "Discover Graphology")
- a practical guide to handwriting analysis. Sections on: form level, the symbolic use of space and direction, stroke and letter forms, typologies,
making an analysis. 1998, paperback, 176pp, 6x8 - £8.99
GULLAN-WHUR, Margaret The Four Elements: the traditional idea of the humours and why they are still relevant. 1987, paperback, 166pp, 5x8
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GULLAN-WHUR, Margaret Research Papers Relating to the Validity and Reliability of Graphology.
£5.00
HAAS, Gunter Handwriting and Character : the study of the analysis of character and handwriting.
1991, spiral-bound, 27pp, 8x11 -
1983, hardback, 122pp, 9x11 - £12.95
HARGREAVES, Gloria Your Personality Revealed : self-analysis through handwriting 1997, paperback, 112pp, 5x8 - £12.95
HAYES, Reed Between The Lines: understanding yourself and others through handwriting analysis. 1992, paperback, 227pp, 6x9 - £14.50
HOLLANDER, P. Scott Reading Between the Lines: the basics of handwriting analysis 1991, paperback, 313pp, 7x10 - £11.99
HUGHES, Albert E Your Fate in Your Handwriting 1997, hardback, 188 pp., 4 x 6 £10.99
IMBERMAN, Arlyn Signature for Success: How to Analyze Handwriting and Improve Your Career, Your Relationships, and Your Life
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JACOBY, Hans Analysis of Handwriting : an introduction into scientific graphology (1939) 1991 reprint, paperback, 316pp, 5x8 - £12.50
KURTZ, Sheila Graphotypes: Change Your Handwriting, Change Your Life 1989 edition, paperback, 211pp, 5x8 - £6.50
KURTZ, Sheila Handwriting Analysis for Lovers : an enlightening, fun guide for you and your partner. 1996, paperback, 130pp, 5x8 - £5.99
LAZEWNIK, Dr Baruch Handwriting Analysis : a guide to understanding personalities 1990, paperback, 208pp, 8x11 - £12.99
LOEFFLER, Christopher The Road to the Write Insight : on risking & writing for the public. 1989, spiral-bound, 41pp, 8x11 - £8.00
LOEFFLER, Christopher No Pain, No Gain Graphology and psychotherapy: compatible tools for troubled times; 1992 revised edition, spiralbound, 8 x 11, 48 pp. £8,
LOEFFLER, Christopher Connections: Pulling Together Some of the Pieces: An exercise in integration Chapters include: Treating
violence Diagnostic use of H/W in determining treatment; Shame and guilt: Their influence on our writings and ourselves. 2005, spiral-bound 8 x
11, 92pp, £14.50
LOWE, Sheila Handwriting of the Famous and Infamous 2001, hardback, 160pp, 9x11- £12.50
LOWE, Sheila The Complete Idiot’s Guide to Handwriting Analysis “opens the door to H/W terms & tools in a light-hearted, down to earth,
humorous way”. 1999, paperback, 456pp, 7x9 - £12.99
MULLAN, Usha Graphology and the Enneagram: Personality in Light and Shadow
1994, hardback, 381pp, 5x8 - £39.00
MULLAN, Usha Graphology and the Enneagram (Volume II): Basic Needs - this second volume is a follow on to her first book, linking
graphology and the enneagram. 2001, paperback, 247pp, 5x9 - £26.00
NAFTALI, Michal
The Application of Maslow's Theory of Needs to Graphology 1996, spiral-bound, 21pp, 8x11 - £6.00
NAFTALI, Michal The Inner Versus Outer Personality: The Graphological Analysis based on L. Szondi. Reprint of a paper presented in
Belgium, 1992, revised and updated 1999, spiral-bound, 15pp, 8x11 - £3.00
NAFTALI, Michal Teenagers in Distress: If they cannot express it, their handwriting will (A case study based on L. Szondi). 1999, spiralbound, 21pp - £3.50
NEZOS, Renna Graphology 1986, paperback, 315pp, 5x8 - £17.95
NEZOS, Renna Advanced Graphology: twenty lectures on selected topics 1993, paperback, 388pp, 5x8 - £24.50
NEZOS, Renna Judicial Graphology : authentication of handwritten documents Chapters on: the natural laws of writing, the general
characteristics, authentication techniques, anonymous letters, forgeries, wills and testaments, photocopied documents, the handwriting expert.
1994, paperback, 176pp, 5x8 - £19.95
OLYANOVA, Nadya The Psychology of Handwriting 1960, paperback, 224pp, 5x8 - £9.75
OLYANOVA, Nadya Handwriting Tells 1969, paperback, 371pp, 5x8 - £9.50
PATERSON, Jane Sign Here: how significant is your signature? 1998, paperback, 144pp, 6x9 - £ 8.99
PEUGEOT, LOMBARD & de NOBLENS (Translated by Monique Stirling) A Manual of Graphology 1997, paperback, 443pp, 9x6 - £29.50
PULVER, Max (translated by Ian & Monique Stirling) The Symbolism of Handwriting (1931) - one of the great pioneering works of
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RAYNER, Marion Notes on Forms of Connection - (Lecture) 1992, spiral-bound, 35pp, 8x12 - £5.00
RAYNER, Marion Report Writing - (Lecture)
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RICE, Louise Character Reading from Handwriting (1927) 1996 reprint, paperback, 320pp, 5x8 - £10.95
RINDONE, James Your Recovery is in Your Hand: codependency in handwriting 2000, paperback, 168pp, 6x9 - £11.99
ROMAN, Klara Handwriting: A Key to Personality (1952) - this classic on handwriting analysis discusses the development of handwriting in
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SAUDEK, Robert Psychology of Handwriting Sections on: history of graphology, physiology of writing, psychology of writing, random test of
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SCRIPTOS (Centre d’etude et d’expertise d’ecriture inc.) Measuring Handwriting with the scriptometer 2003, spiral-bound, 7 pp + folder
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SINGER, Eric A Manual of Graphology 1987, hardback 6 x 9 - £12.95
SINGER, EricHandwriting and Marriage: A Guide to Compatibility (1953) 1991 reprint, paperback, 100 pp, 5 x 7 £3.50
SPENCER-HARPER, AngelaThe Write Analysis: understanding people through their handwriting – clearly set out beginners guide.
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ST. MORAND, H. (translated by Alex Tulloch) The Mythological Types Spiral-bound, 76pp, 8x11 - £15.00
STOCKER, Richard Dimsdale The Language of Handwriting: a textbook of graphology (1901) 1994 reprint, paperback, 259pp, 5x8 - £8.99
SWEETING, Norma & WALDE, Karin Fears & Their Effects: as revealed in handwriting 1999, spiral-bound, 156pp, 8x11 - £14.00
SWEETING, Norma & WALDE, Karin The Graphologist’s Pocket Reference Book (Dictionary of Traits and Guide to Graphic Indicators)
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TULLOCH, Alex Szondi's Theory of Personality in Handwriting 1990, spiral-bound, 87pp, 8x11 - £15.00
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WEST, Peter Pen Pictures Interpreting the secrets of handwriting. 1999, paperback, 127 pp., £6.99
WHITING, Eldene Traitmatch: Discovering the Occupational Personality - basic introduction to handwriting analysis and how to apply its
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Beneath the Mask: An Introduction to Personality.
Christopher F. Monte Hardback, 1977, (ex-lib.) 693 pp. £15.99
Graphology. Barbara Hill 1981, hardback 144 pp £12.50
You Are What You Write. Huntingdon Hartford. 1975, hardback, 380 pp £17.50
What Your H/W Reveals. Albert E. Hughes. 1970, hardback, 123 pp, £5.50
A Dictionary of Psychology. James Drever. 1966, paperback, 320 pp, £3.50
Crime and Sex in H/W. Patricia Marne, 149 pp . 1981, hardback, £15 and £17.50
Freud and the Post-Freudians J.A.C. Brown 1972 reprint (and others) £3.50
Character Reading From H/W by ‘Grapho’ 1963, hardback 113 pp., £9.50
What Your H/W reveals. Margaret Gullan-Whur. 1984. Hardback. 256 pp.- £10.50; paperback - £6.00
Graphology: Your Character in Handwriting. John Marley. 1967. Hardback. 96 pp. £6.00
A Dictionary of Graphology: The A-Z of your personality. Gloria Hargreaves & Peggy Wilson
1991, 215 pp, paperback - £12.99; hardback - £15.00
Diane Simpson:The Analysis of H/W Personality and Character. 1986 paperback, 7.5 x 9.5 144pp - £10
Achieving Compatibility with H/W Analysis. K.Amend & M. Ruiz. 1992 Large PB. Vol. I: £25
H/W Analysis. The Complete Basic Book. K. Amend & M. Ruiz. 1980 PB £7.50
A Primer of Jungian Psychology. C. S. Hall & V.J. Nordby. PB Mentor Books 1973 £9.99
The Growth of Personality Gordon R. Lowe PB Penguin 1974 reprint £8.50
The Psychology of Handwriting Robert Saudek HB Geo. Allen & Unwin 1925 288pp (lacks supplement) £15.00
Personality in H/W. Alfred O. Mendel. Newcastle Pub. Co. Inc. PB. 1990. 1 @ £15.00, 1 @ £19.50
Mind Your Ps and Qs. Jerome S. Meyer. Geoffrey Bles. HB. 1932 reprint £15.00 (spine loose)
The Language of H/W. Oscar N. Myer. HB 1958 1 @ £9
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In the light of current comment, Kimon Ianetta has provided this sample of Vladimir Putin's handwiritng
and signature. No room here to analyse it for you, but grapholgically it speaks volumes.