' 
 
 ANATOMY 
 
 PAIXTING. 
 
 ^ELh, 
 
 I 
 

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 in 2010 with funding from 
 
 Research Library, The Getty Research Institute 
 
 http://www.archive.org/details/essaysonanatomyoOObell 
 
ESSAYS. 
 
C. WHITTINGHA.M, PRINTER, DEAN STREET, FETTER LANE. 
 
ESSAYS 
 
 ON TBE 
 
 ANATOMY OF EXPRESSION 
 
 ijf 
 
 PAINTING. 
 
 BY CHARLES BELL. 
 
 TAMEN ASPICE, SI QUID 
 
 ET NOS, QUOD CURES PKOPRIUM FECISSE, LOQUAMUR. 
 
 HOR. EPIST. XVII. 
 
 LONDON: 
 
 PRINTED FOR LONGMAN, HURST, REES, AND ORME, PATERNOSTER-ROW. 
 
 . 1806. 
 
ADVERTISEMENT, 
 
 When the Author of these Essays has formerly 
 appeared before the Public, he felt a sort of con- 
 fidence in the tendency and usefulness of his la- 
 bours ; the motives at least which induced him 
 to publish might plead that apology which an au- 
 thor so naturally wishes to establish with his readers. 
 And to this perhaps he has hitherto owed his ex- 
 emption from the severity of criticism. He has 
 here adventured on a subject in which to succeed 
 implies a thousand delicacies of taste and of compo- 
 sition, the want of which is little observed in works 
 of less splendid pretensions. But he may be allowed 
 
VI 
 
 to say, that even in this attempt he has still his first 
 great object in view, and in some measure the same 
 motives and hopes to support him. His wish is to 
 demonstrate the importance and the uses of anatomy; 
 to multiply the motives for the cultivation of the 
 science; to show how various and how interesting- 
 are the deductions which may be drawn from the 
 contemplation of the animal frame. 
 
 Engaged by his professional duties in the study of 
 the anatomical structure, as it directs the enquiries 
 and the practice of the physician and surgeon, the 
 Author has been accustomed also to look on the 
 human body in another relation, less useful it may 
 be admitted, but not less pleasing or interesting. 
 
 Anatomy stands related to the arts of design, as 
 the grammar of that language in which they address 
 us. The expressions, attitudes, and movements of 
 the human figure, are the characters of this lan- 
 guage ; which is adapted to convey the effect of 
 historical narration, as well as to show the working 
 
Vll 
 
 of human passion, and give the most striking and 
 lively indications of intellectual power and energy. 
 The art of the painter, considered with a view to 
 these interesting representations, assumes a high and 
 dignified character. All the lesser embellishments 
 and minuteness of representation are, by an artist 
 who has those more enlarged views of his profession, 
 regarded as foreign to the main subject, as distract- 
 ing and hurtful to the grand effect, as admired only 
 because they have the merit of accurate imitation, 
 and almost appear to be what they are not. This 
 distinction must be felt, or we shall never see the 
 grand style in painting revived. The painter must not 
 be satisfied merely to copy and represent what he 
 sees; he must cultivate this talent of imitation, merely 
 as bestowing those facilities which are to give scope 
 to the exertions of his genius, as the instruments and 
 means only which he is to employ for communicating 
 his thoughts, and presenting to others the creations 
 of his fancy. It is by his creative powers alone that 
 he can become truly a painter ; and for these he is to 
 trust to original genius, cultivated and enriched 
 
Vlll 
 
 by a scrutinizing observation of nature. Till he has 
 acquired a poet's eye for nature, and can seize with 
 intuitive quickness the appearances of passion, and 
 all the effects produced upon the body by the 
 operations of the mind, he has not raised himself 
 above the mechanism of his art, nor does he rank 
 with the poet or the historian. 
 
 To assist the painter in one department of this 
 inspiring study, is the Author's design in these 
 Essays. He has been desirous, in principles deduced 
 from the structure of man, and the comparative 
 anatomy of animals, to lay a foundation for studying 
 the influence of the mind upon the body ; and he 
 ventures to expect great indulgence to an attempt 
 at once so delicate and so difficult. 
 
 Perhaps it may be proper to make some apology 
 for the sketches which accompany the text. He 
 often found it necessary to take the aid of the pencil, 
 in slight marginal illustrations, in order to express 
 what he despaired of making intelligible by the use 
 
IX 
 
 of language merely ; as in speaking, for example, of 
 the forms of the head, or the operation of the 
 muscles. The slightness of these sketches, as they 
 appeared in the manuscript, explained sufficiently 
 the humble intention of the Author. But, under the 
 graver, they have assumed an appearance more soft 
 and finished, than was perhaps to be desired; and 
 certainly stand more in need of an apology for their 
 incorrectness*. 
 
 * In the sketch of Astonishment and Fear the Author thought that he was success- 
 ful in the expression, but they have lost much of their original character. 
 It would be ungrateful not to acknowledge that he is indebted for some of the 
 happier imitations of his drawing to Mr. Freeman's unremitting attention and 
 solicitude. 
 
CONTENTS. 
 
 INTRODUCTORY ESSAY. 
 Uses of anatomy to the painter — Faults into which artists may be betrayed in 
 
 STUDYING FROM THE antique EXCLUSIVELY 3 
 
 la drawing from the academy figure i) 
 
 The proper use of the living figure to the artist 1 1 
 
 Of the anatomy as assisting the artist in drawing from the model 12 
 
 Its uses in drawing from the living figure, or in composing 14, 15 
 
 Of the expression of the anatomy in the sketch and in the finished picture 17 
 
 The ambitious display of anatomical knowledge leads to inaccuracy and caricature ... 18 
 
 ESSAY II. 
 
 Of the skull and form of the head , 25 
 
 Of the distinction of character in the different ages — Of the head of an infant 25 
 
 Of the changes produced by the growth and falling away of the teeth 27 
 
 Character of an old woman's face 29 
 
 Peculiarities of Fiamingo's heads of children , 31 
 
 Of the peculiarities of the antique or ideal head 32 
 
 Of the character of the heads of brutes — The peculiarity in the antique form of the 
 
 headconsistsin increasiagthe proportions which distinguish human physio-^nomy.. 39,40 
 
 Explanation of the plate of the skulls 49 
 
 ESSAY III. 
 
 Of the muscles or the face in man and in animals 55 
 
 Explanation of the plate of the muscles of the face 58 
 
 Explanation of the additional plate of the muscles of the face q-j 
 
 Explanation of the plate of muscles in the carnivorous animals 72 
 
 Some painters have given human expression to aaimils 74, 
 
 Explanation of the plate of the muscles of the horse's head 77 
 
ESSAY IV*. 
 
 Pagf 
 Of the EXPHF.JSION of passion as illustrated IIV A COMPARISON OF THE MUSCLES IN MAN 
 
 AND IN ANIMALS — AND OF THE MUSCLES PRClLIAIt TO MAN AND THEIR EFFECTS IN 
 
 BESTOWING HUMAN EXPRESSION S4 
 
 Arrangement of the muscles of the face in brutes 89 
 
 Of the niustles of the face of man as contrasted with those of brutes 93 
 
 EHects of the muscles of expression in man and animals 96 
 
 Much of beauty of countenance is in capacity of expression. 1C2 
 
 ESSAY V. 
 
 Idea of a living principle in the expression of emotion — Of the action of the mus- 
 cles of the face AS EXPIIESSIVE OF PASSION 108 
 
 Of the relaxation of tlie muscles of the face in languor, fuintness, and sorrow — Of 
 
 bodily pain 113 
 
 Of anguish and of death 116 
 
 Of laughter and of weeping 125 
 
 Ofjoy and discontent 133 
 
 Of w-onder, astonishment, fear, terror, horror, despair 14-2 
 
 Of madness 153 
 
 ESSAY VI. 
 Of the economy of the living body as it RELATES to expression and character in 
 
 PAINTING 161 
 
 Of the veins 163 
 
 The bones and muscles 168 
 
 Power of exercise in giving form and elegance to the figure 171 
 
 Contrast of power and velocity as indicated in the human figure 174 
 
 An elevation sometimes to be sustained in the proportions and attitude of the figure, as 
 
 in the language of the poet 176 
 
 The movements of the human body divisible into those, 1. Of motion and exertion ; 
 
 2. Of sentiment and passion 177 
 
 An elegant position is a natural and easy one 180 
 
 Beauty of animals has a relation to motion, but in the human body it has also a 
 
 relation to the qualitiesof mind and the power of expression 181 
 
 Of the character of sleep and death 183 
 
 * This by au error of the press is Essay V. Essay V. is written Essay VI. aud so on. 
 
INTRODUCTORY ESSAY. 
 
 USES OF ANATOMY TO THE PAINTER-FAULTS INTO WHICH ARTISTS MAY BE 
 BETRAYED IN STUDYING THE ANTIQUE; IN DRAWING FROM THE ACADEMY 
 FIGURE-ANATOMY AS LE.\DING TO THE CRITERION OF TRUTH OF EXPRESSION 
 AND OF CHARACTER. 
 
 In the expression of emotion and passion, whether by the gesture or 
 in the countenance, there is sufficient uniformity to be the object of 
 art and reasoning ; and though we cannot hope to obtain a perfect 
 rationale of this curious and interesting science, something certainly 
 may be done in settling a criterion of just and true expression. 
 
 In what I now lay before the public, I do not aim at any thing like 
 a complete theory of expression. It is interesting in a very high degree 
 to mark the traits of emotion, and compare them with the anotomical 
 structure ; and amidst the severer studies of anatomy, as connected 
 with health and disease, I have been able, without departing too far 
 from my professional pursuits and duties, to pass many pleasant 
 hours in observing and investigating the anatomy of expression. 
 
But we are still far from possessing sufficient materials for a 
 theory of the science : and all that I can venture to hope, is that 
 some of my suggestions may prove useful to those who indulge 
 in these pleasing speculations; or be serviceable to artists, who, 
 wliile they are solicitous to attain the perfection of mechanical 
 practice, derive satisfaction from studying the principles of their 
 art. 
 
 By anatomy, considered with a view to the arts of design, I un- 
 derstand not merely the study of the individual and dissected mus- 
 cles of the face, or bod\^, or limbs ; I consider it as including a know- 
 ledge of all the peculiarities and characteristic differences which mark 
 and distinguish the countenance, and the general appearance of the 
 body, in situations interesting to the painter or statuary. The charac- 
 ters of infancy, youth, or age; the peculiaritiesofsicknessor of robust 
 health ; the contrast of manly and muscular strength, Avith feminine 
 delicacy; the appearances of diseases, of pain, or of death; the general 
 condition of the body ; in short, as marking to the eye of the beholder 
 interesting situations; — all these form as necessary a part of 
 the anatomy of painting as the tracing of the muscles of expression 
 in their unexerted state, and of the changes induced upon them as 
 emotions arise in the mind. 
 
 The anatomy of painting, taken according to this comprehensive 
 description, forms not only a science of great interest, but that from 
 wliich alone the artist can derive the true spirit of observation ; learn 
 
to distinguish what is essential to just expression; and be enabled to 
 direct his attention to appearances which might otherwise escape his 
 notice, but on which much of the effect and force, and much even of 
 the delicacy of his delineations, will be found to depend. 
 
 Among the errors into which a young artist is most likely to be 
 seduced, there are two against which the study of anatomy seems well 
 calculated to guard him. — The one of these is, the blind and indiscri- 
 minate imitation of the antique ; the other, an opinion that in the 
 academy figure he will find a sure guide in delineating the natu- 
 ral and true anatomy of the living body. These are subjects on 
 which it may be excusable to insist somewhat at large. 
 
 If, as I fear it too often happens, an artist should make the imita- 
 tion of the antique the beginning and the end of his studies, 
 instead of adopting it as a corrective of his taste, after having laid a 
 sure oTound-work in the study of anatomy and a close observation 
 of nature, and after having attained a correct and powerful execu- 
 tion, he will be apt to degenerate into a tame and lifeless style; he 
 will be in danger of renouncing, in pursuit of ideal beauty, the truth 
 of expression and of character.— Nay, I cannot help suspecting that 
 many painters have copied after casts of the antique for years, with- 
 out perfectly understanding what they should imitate, Avithout even 
 perceiving the necessity of previously studying the nature of the sub- 
 ject; entering fully into the idea of the artist; and being aware of the 
 peculiarities of his mode of composition. Into this fault, one who is 
 
learned in the science and anatomy of painting can never fall. But he 
 who has not compared the natural with the antique head, or learned 
 the characteristic differences, or studied the principle on which the 
 ancient artists composed, may be betrayed into the grossest miscon- 
 ceptions by too implicitly following their models. In painting a hero, 
 for example, on whoman ancient would have bestowed strong charac- 
 ter, with bold anatomy and powerfiil expression, he may follow the 
 ideal form of a deity, in which the Grecian artist had studiously di- 
 vested his model of all that could indicate natural character, or 
 might seem to pertain to humanity. The ancient artist, in following 
 the mythology of his country, and the description of her poets, studied 
 to bestow the character of divinity, by giving repose to the limbs with- 
 out any indication of muscles or veins, and by exhibiting a face full of 
 the mild serenity of a being superior to the passi6ns of mankind, as 
 shadowing out a state of existence in which the will possesses the 
 most perfect freedom and activity without the exertion of the bodily 
 frame. But those ideal forms are scarcely ever to be transferred to the 
 representation of the human body ; and a modern artist who indiscri- 
 minately follows such a model, misapplies the noblest lessons of his art. 
 
 There are also, independently of the ideal form of divinity, some 
 peculiarities in the nature of the ancient sculpture which ought to be 
 well considered by the student in modern painting. 
 
 In the infancy of their art, sculptors did not venture to give to their 
 ligures either animation or character; they did not even open the eye- 
 
lids, or raise the arm from the side. A stilhiess and simplicity of com- 
 position is thus the characteristic of ancient sculpture ; and we are 
 told that Pericles, even in the best age of Grecian art, was anxious 
 that his artists should in all their works preserve this grave simplicity 
 of the early ages, as necessary to grandeur. It is observed accord- 
 ingly, that among the most striking marks of excellency which dis- 
 tinguish the Grecian artists, the first and most admirable is this noble 
 simplicity ; this sedate grandeur of expression ; and the prevailing 
 tranquillity of soul which still appears under the most terrible 
 agitations, and the most violent passion. Upon this chaste model 
 was the taste in sculpture formed, in the better ages of Greece and 
 Rome; and its influence has extended to modern times. Unfortu- 
 nately this style of composing has been perverted into an additional 
 authority for rejecting powerful expression and character even from 
 the canvass. But we must never forget the distinction between sta- 
 tuary and painting. The statuary indeed must often, as well as the 
 painter, represent what is not consistent with perfect beauty ; while 
 both must sometimes preserve an indefiniteness, and soften all the 
 harsher, though strictly natural lines of expression. Still however 
 there is an essential and important difference between the principle of 
 composition in painting and in sculpture. 
 
 In the statuaries of antiquity, we see a perpetual effort to exalt 
 their productions above the commonness of nature. In the expres- 
 sion of passion, they studied a grand and general effect, avoiding the 
 representation of that minuteness or sharpness of feature, and of those 
 
convulsions and distortions which are strictly natural : and indeed 
 it is scarcely consistent with the character of a statue to represent the 
 transitory emotions of violent passion. The statuary must exercise 
 his genius on the more sublime and permanent emotions, as 
 charactered in the countenance and figure ; and much of the diffi- 
 culty of his art consists in preventing the calmness and repose 
 which ought to be preserved in the attitude and expression, fi-om ex- 
 tinguishing all character, and degenerating into indifference and 
 insensibility. 
 
 But this rigid principle does not apply to the painter; and to 
 transfer to painting those rules of composition which flow from the 
 study of ancient sculpture, threatens the loss of all that is peculiarly ex- 
 cellent in the art. As the painter's materials do not admit of a re- 
 presentation too nearly approaching to nature, a character and ex- 
 pression more natural and stronger than is proper to a statue is allowa- 
 ble. It is very true, that the painter may often be allow^ed to pre- 
 serve much of the same gravity of style with the statuary ; that such 
 compositions will possess a certain augustness ; and that some subjects 
 even require this, while many admit of it, provided the tone and 
 principle of composition will be well preserv^ed, and the painting cha- 
 racterised by a low and sombre colouring. In general, however, this 
 is neither necessary nor perhaps natural to the style of composition 
 in painting. A stronger expression, a closer imitation of natural 
 character may be adopted ; and at least it may be laid down, that 
 where there is bold light, and vivid colouring, there should be strong 
 
and natural character, bold and characteristic drawing. A painting, 
 with high finishing and bright colouring, demands minute expres- 
 sion, because the same circumstances which display the natural colour- 
 ing, are necessarily accompanied by a minute disclosure of the 
 parts, and a sharpness of natural expression in the features. 
 
 Thus the painter must stud)^ as a necessary part of his profession, 
 the traits of human expression. The noblest aim of painting un- 
 questionably is to reach the mind, which can be accomplished only 
 by the representation of sentiment and passion ; of the emotions of 
 the mind, as indicated by the figure, and in the countenance. If it be 
 still contended that an imposing stillness and tranquillity must pervade 
 the representation of the higher subjects of painting, I will venture 
 to affirm, that it is a tranquillity which he can never reach who is not 
 capable of producing all the violence and agitation of passion. It is 
 not such repose as the artist who has despised or neglected natural 
 character may be able to represent, but such as he alone can conceive 
 and execute, who, having commenced with natural forms and ex- 
 pression, has not contentedhimself with the first lesson of delineating 
 the effects of passion with boldness, but has studied all the variety of 
 expression, and learned the anatomy of the face and limbs in their 
 most violent action. Nay, tranquillity or repose, in the strict sense 
 of the words, cannot be characteristically expressed by one who 
 could not with equal facility give energy to the features and figure, 
 and action to the muscles ; for in rest there must be character, and 
 in what this consists, can best be observed and understood by him 
 
8 
 
 vho has studied the effect of action. It ought also to be recollected 
 that repose and agitation must ever greatly depend on contrast and 
 opposition. There are few great subjects in history or mythology, 
 in which the tranquillity and higher beauty of expression in the 
 main figure, whether a hero in the midst of conquest, a heathen 
 deity, or the Saviour, does not borrow some aid from the harsher 
 features, more marked character, and more passionate gesture of the 
 surrounding groupes. 
 
 Perhaps, I may be thought to have sufficiently pointed out 
 how dangerous it is, for one solicitous to excel as a painter, too 
 closely and indiscriminately to imitate the antique, and especially 
 the productions of ancient sculpture. But it is not unnatural 
 for the student to believe that the study of the academy figure 
 may ser\'e as a guard against all such danger; and afford him 
 a sure criterion forjudging of the anatomy of his figures. 
 
 The study of the academy figure is, undoubtedly, most essential, 
 but unless conducted with some regard to science, it necessarily 
 leads to error. 
 
 In the first place, it may be remarked, that the academy figure 
 can give no aid in the study of the countenance. Here the 
 lessons of anatomy, taken along with the descriptions of the great 
 poets, and the study of the works of eminent painters, afford the 
 only resource. 
 
9 
 
 But even for the anatomy of the body and limbs, the academy 
 figure is very far from being an infallible guide. The display of 
 muscular action in the human figure is but momentary, and cannot 
 be retained and fixed for the imitation of the artist. The effect 
 produced upon the surface of the body and limbs by the action of 
 the muscles, the swelling and receding of the fleshy parts, and that 
 drawing of the sinews or tendons, which accompanies exertion, or 
 change of posture, cannot be observed with sufficient accuracy, unless 
 the artist is able to class the muscles engaged in the operation ; and 
 unless he have some other guide than the mere surface presents, 
 which may enable him to recollect the varying form. 
 
 When the academy figure first strips himself, there is a symmetry 
 and accordance in all the limbs ; but when he is screwed up into 
 a posture, there appears a constraint and want of balance. It 
 cannot be supposed, that, when a man has the support of ropes 
 to preserve him in a posture of exertion, the same action of mus- 
 cles can be displayed as if the limbs were supported by their OAvn 
 energy; and, in all academy drawings, we may perceive some- 
 thing wrong where the ropes are not represented along with 
 the figure. In natural action there always is a consent and 
 symmetry in every part. When a man clenches his fist in passion, 
 the other arm does not lie in elegant relaxation : When the face 
 is stern and vindictive, there is energy in the whole frame : When 
 a man rises fi-om his seat in impassioned gesture, there pervades 
 every limb and feature a certain tension and straining. This uni- 
 
 c 
 
10 
 
 versal state of the body It is difficult to excite in those who are 
 accustomed to sit to painters; I see them watch my eye, and 
 where they see me intent, they exert the muscles. The painter, 
 therefore, cannot trust to the man throwing himself into a natural 
 posture; he must direct him, and be himself able to catch, as it 
 were intuitively, what is natural, and reject what is constrained. 
 Besides, those soldiers and mechanics who are employed as aca- 
 demy figures are often stiff' and unwieldy; and hard labour has im- 
 paired in them the natural and easy motion of the joints. 
 
 Until the artist has gained a perfect knowledge of the muscles, and 
 is able to represent them in action without losing the general tone of 
 the figure, he is apt to produce an appearance like spasm or cramj) in 
 the limbs from one part being in action, while the other is loose or 
 relaxed. For it is always to be remembered, that whether the body 
 be alive or dead, whether the limbs be inaction or relaxed in sleep, 
 a uniform character must pervade the composition. Whether the 
 gently undulating line of relaxed muscle be the prevailing outline; 
 or the parts be large and strong, and the muscles prominent, bold, 
 and angular; there must be perfect accordance, otherwise there 
 Avill be no beauty of expression. 
 
 I think, that in the sketches, and even in the finished paintings of 
 some artists, I have observed the effect of continuing to draw from the 
 model, or from the naked figure, without due attention to the 
 action of the muscles. I have seen paintings, where the grouping 
 
11 
 
 was excellent, and the proportions exact, yet the figures stood in 
 attitudes when they were meant to be in action ; they were fixed 
 as statues, and communicated to the spectator no idea of exertion 
 or of motion. This sometimes proceeds, I have no doubt, from a 
 long continued contemplation of the antique, but more fi-equently 
 from drawing after the still and spiritless academy figure. The 
 knowledge of anatomy is necessary to correct this ; but, chiefly, a 
 familiar acquaintance with the classification of the muscles, and 
 the peculiarities and effect of their action. 
 
 The true use of the living figure is this ; — after the artist has 
 learnt the structure of the bones and the classification of the muscles, 
 he should attentively observe the play of the muscles when thrown 
 into action and attitudes of violent exertion ; but, chieflj^ he should 
 mark the action of the muscles during the striking out of the 
 limbs. He will soon, in such a course of observation, learn to dis- 
 tinguish between posture and action, and to avoid that tameness 
 which results from neglecting the play of the muscles. And in this 
 view, the painter, after having learnt to draw the figure, as it is usu- 
 ally termed, would do well to make the academy figure go through 
 the exercise of pitching the bar, or throwing or striking. He will 
 then find that it is chiefly in straining and pulling in a fixed pos- 
 ture, that there is an universal tension and equal prominence of the 
 muscles ; and that in unrestrained actions only a few muscles rise 
 strongly prominent, and are distinctly characteristic of that action. 
 He will not, perhaps, be able to catch the character of muscular 
 
12 
 
 expression, and commit it to paper at once; but with accurate 
 notions of the classification of the muscles, and of the effect of each 
 action in caUing into exertion particular sets of them, knowing to 
 what point his observation should be applied, and correcting his pre- 
 conceived notions by the actual appearance of the limb, each suc- 
 ceeding exhibition of strength will accelerate his progress in the 
 knowledge of anatomical expression, and in correctness of de- 
 sign. 
 
 The true corrective for the faults we have pointed out, is to be 
 found in the study of anatomy. It may well be said, that ana- 
 tomy is the true basis of the arts of design ; and it will, infallibly, 
 lead to perfection those who, blessed with true genius, can combine 
 correctness and simplicity with the higher graces and charms of 
 the art. It bestows on the painter a minuteness of observation, 
 which he cannot otherwise attain; and, I am persuaded, that 
 while it will enable him to give vigour to the whole form, it will, 
 also, teach him to represent certain niceties of expression, which, 
 otherwise, are altogether beyond his reach. 
 
 Even in drawing from a particular model, the artist, who is versed in 
 anatomy, has a great superiority. When I have seen a person, un- 
 acquainted with anatomy, drawing from the naked figure or from a 
 statue, I have marked the difficulty which he experienced in re^ 
 presenting the course of a swelling muscle, or the little depressions 
 and convexities about a joint ; and this difficulty I have traced to 
 
13 
 
 his total ignorance of the course and action of the muscle, the 
 effect of which he was endeavouring to make out. The same 
 difficulty is often felt in drawing the knobbed end of a bone, or the 
 insertion of a tendon, which being under the integuments of the 
 limb are but very faintly distinguishable on the surface. These de- 
 licate and less definite indications of the anatomy, though easily 
 traced by one acquainted with the structure of the limb, appear to 
 the uninformed only as unmeaning variations in the outline, of the 
 importance of which he has no means of judging, and in the imi- 
 tating of which he feels the greatest difficulty, and is exposed to 
 continual mistakes. While the knowledge of anatomy gives to the 
 painter a spirit of minute observation, and leads him to mark those 
 little niceties which add to the beauty of the whole, it also enables 
 him to preserve correctness, and infuse vigour into his drawing; 
 to catch that diversity which nature sets before him, and to avoid 
 the representation of what is monstrous and deformed. 
 
 Suppose, that a young artist is about to sketch a figure or a limb, 
 feeble indeed will his execution be, if without knowledge he endea- 
 vours merely to copy what is placed before him. In thus transcrib- 
 ing, as it were, a language wliich he does not understand, how many 
 must be his errors and inaccuracies ! He sees an undulating sur- 
 face ; the bones and processes of the joints but faintly distinguish- 
 able; he neglects the peculiar swelling of the muscles, to which he 
 should give force, as implying motion ; he makes swellings merely ; 
 he is incapable of bestowing the elegant undulating outline of beauty 
 
u 
 
 with force and accuracy, and of preserving at the same time the cha- 
 racters of motion or exertion. Drawing what he does not mider- 
 stand, he falls into imbecility or deviates into caricature. 
 
 But if with a knowledge of anatomy, he attempts the same 
 task, his acquaintance with the skeleton enables him with truth and 
 with facility to sketch his first outline of the figure, and to take down 
 its various proportions; while his knowledge of the muscles enables 
 him to represent forcibly the fleshy parts, simplifying and massing 
 where it is necessary, and at the same time preserving a minuteness 
 of intention. 
 
 But it is in composing much more than in copying what is ex- 
 hibited, that the knowledge of anatomy is truly useful. Without 
 such knowledge, all the original exertions of genius are repressed. 
 Every alteration of posture is accompanied Avith muscular exertion 
 and change of form, and in proportion to the painter's ignorance of 
 these changes, are all his designs cramped and restrained. Leonardo 
 da Vinci gives formall}^ as a precept, what is self-evident to an 
 anatomist. " In naked figures, those members must shew their 
 " muscles most distinctly and boldly, upon which the greatest stress 
 " is laid ; in comparison with which, the rest must appear ener- 
 " vate." — " Remember, further, to make the muscles most visible on 
 " that side of any member which it puts forward to action." Such 
 rules and precepts are rather the result of anatomical knowledge, 
 than useful as pointing out to one unacquainted with anatomy 
 
1.5 
 
 the effect he is to produce. It is not by following such a precept, 
 that the end is to be accomplished, but by enriching the mind with 
 the continual contemplation of the anatomical changes, which 
 mark each motion ; and by forming, as the result of such study, rules 
 for the representation of human action. The uses of this stud}'- will 
 best appear from an illustration. In vigorous action, while there is 
 generally a tension in the whole frame, there is also, in order to 
 produce the particular motion, a certain class of muscles brought 
 into stronger action than the rest ; the delineation of which is the 
 true indication of the action itself. If a man be merelvpointing up- 
 wards, an elegant simplicit^^j^;;^ be-all that thejoam^er^n^attai^^ 
 or should attempt ; but if, in the same posture, he is bringing down 
 a heavy sword to make a blow, the muscles start into strong exer- 
 tion; and bv representing those swelling muscles which PulLaQ^flU^ 
 the arm arid give the sweep to the whole body, the idea of mighty 
 action is conveyed. Thus it is necessary, in order to compose 
 with truth and correctness, not only that the painter should know 
 the place and form of the bones and muscles, but that he should 
 also have an accurate conception of the classing of the muscles in 
 their action. -- 
 
 Perhaps, I shall best impress my idea of the advantage 
 to be derived from this study, by contrasting two young artists 
 employed in drawing from a figure; the one trusting to his 
 untutored genius; the other assisted by the study of anatomy. 
 The first, after much labour, is seen copying bit by bit, and 
 measuring from point to point ; and the effect is an accurate out- 
 
16 
 
 line. The other catches the attitude with facility, because a know- 
 ledge of the skeleton has enabled him to balance the trunk upon the 
 limbs, and to give the outline with boldness ; the turn of the limbs, 
 the masses of muscular flesh, and the general character of the joints, 
 are touched with a slight but accurate hand. If you look upon his 
 sketch, you will find the attitude, the character, the spirit, and life of 
 the original. Even in the early stage of his drawing, and whilst his 
 opponent is copying parts, he presents you with the foundation of 
 an accurate and spirited sketch ; and if the anatomical student has 
 the advantage in conveying the general idea in a few lines, he has 
 a much greater superiority in drawing the minute parts. 
 
 But this superiority which anatomy bestows, is still better ex- 
 emplified, if you remove the model from these two young painters, 
 and make them draw the figure fi-om recollection ; or if, keeping 
 the model before them in its original posture, you make them alter 
 the attitude of the figure. Suppose, for example, that we take the 
 fighting gladiator. Instead of a young warrior pushing on with 
 great energy, let their task be to represent him receiving a blow 
 of his antagonist, which forces down his shield upon his breast, 
 or brings him Avith his knee to the ground; as it is beautifully re- 
 presented on some medals. Can we doubt for a moment which will 
 excel ? The one will copy from recollection his original drawing, or 
 twist with great difficulty the erect limbs of the statue into a couch- 
 ing posture, while the other will gain by his greater fi-eedom. Retain- 
 ing the general air, like one who had understood what he copied, he 
 is aware, that a new class of muscles come into action, while those 
 
17 
 
 formerly in exertion are relaxed; he knows that the bending of 
 the limbs increases their measurements ; he knows how to represent 
 the joints in their new postures ; in short, he gives energy and effect 
 as a compensation for slighter errors. 
 
 It is a mistake to suppose, that because in many capital pictures 
 the anatomy is indicated very faintly, the study of it may not be 
 necessary to a painter. Even that, which in the finished picture 
 is to be the mere indication of muscular exertion, ought to have its 
 foundation laid in the sketch, by a correct and strong representation 
 of the full action. It is very true, that the sketch is too often a mere 
 indication of the painter's design, intended to be worked up to all the 
 truth of representation as he transfers it to the canvass ; that the out- 
 lines of the figures are oftener mere shadowy forms undefined in the 
 minute parts, than studies of anatomical expression, or guides to the 
 painter in his subsequent labour. And perhaps it is for this reason 
 that there have been many painters whose sketches all admire, but 
 whose finished paintings fall short of public expectation. But I 
 venture to sav that a sketch which is without spirit, tame, monotonous, 
 and in which the anatomy has not been studied, is a bad foundation 
 for a fine painting. Even a little exaggeration of the anatomy 
 is not only agreeable, but highly useful in the mere sketch. 
 The anatomy should be strongly marked in the original design ; 
 and from the dead colouring to the finishing, its harshness and rug- 
 gedness should be gradually softened into the modesty of nature. 
 The character of a sketch is spirit and life; the finished painting 
 
 D 
 
18 
 
 must have smoothness and accuracy combined. What was a harsh 
 outhne in the sketch, or the strong marking of a swelling muscle, or 
 the crossing of a vein, will in the finished composition be faintly indi- 
 cated, perhaps, only by a tinge of colour. But the anatomy of the 
 finished picture will always be the most happy, and even its deli- 
 cacy perhaps the greatest, where the painter has a strong and clear 
 conception of the course and swelling of each muscle and vein 
 which enters into the delineation of the action. 
 
 While artists neglect the study of anatomy as connected with 
 character and expression in painting, they never can attain the 
 " vantage ground of their profession." Perhaps, also, it is to be 
 feared, that while this study is confined to a few, and one or two artists 
 only are versed in the science, they will be apt to caricature nature. 
 They are learned above their rivals : it is their forte, and they are so- 
 licitous to display it. But were anatomy more generally studied, the 
 same spirit and love of originality would make those very men seek 
 for distinction, by combining elegance, and the other requisites of 
 fine painting, with truth and expression; and prevent them from 
 being any longer ambitious of drawing with an accuracy bordering 
 on deformity. • . 
 
 It is not enough however to prove that the painter should accom- 
 plish himself in the knowledge of anatomy. The public attention 
 must also be directed to its importance. For as necessity must pre- 
 cede invention in the origin of arts, so must general good taste pre- 
 
19 
 
 cede or accompany their improvement. The mere conviction in 
 the mind of the painter, that anatomy is necessary to the per- 
 fection of his science, will seldom be sufficient to insure his applica- 
 tion to a very difficult and somewhat of a disgusting study. The 
 knowledge and opinion of the public must force him to the task, and 
 encourage his labour by the assurance of its merited reward. 
 
 I have therefore two objects in view, in submitting these sketches 
 and hints to the public; to furnish the painter, so far as I am able, with 
 a guide to the study I recommend; and to convince the amateur of the 
 necessity of this union of anatomy and painting. To many, of both 
 descriptions, I am afraid this work will not be agreeable. The painter 
 who considers his education as completed, will not be pleased to find 
 so arduous a branch of it still to be begun; and the amateur may 
 be expected to shudder at the very name and phraseology of anatomy. 
 But it is only while anatomy is studied improperly, that it can excite 
 disgust; when connected with the criticism of art, it affords very de- 
 lightful subjects of investigation. Even in the common intercourse of 
 life, as well as in the gallery, the spirit of observation which it excites 
 and fosters, must prove a source of very pleasing speculation. At the 
 gaming-house, on the exchange, in the streets, this study affords 
 amusement of the highest interest and gratification. In the theatre 
 it is the foundation of true criticism. In heroic poetry, the finest 
 passages are those which are descriptive of passion; and those poets 
 who have excelled in describing human emotion, and have been 
 able to convey a forcible and vivid idea, by attending to the 
 
20 
 
 working of the impassioned countenance, have spoken with uniform 
 effect to all ages. The description of a characteristic feature or trait 
 of expression, often conveys a perfect idea of the whole, and, like a 
 skilful touch of the painter, a single stroke of the poet's pen enlivens 
 the picture, and interests the feelings. 
 
ESSAY II. 
 
ESSAY II. 
 
 OF THE SKULL AND FORM OF THE HEAD— OF THE DISTINCTION OF CHARACTER IN 
 DIFFERENT AGES— AND OF THE PECULIARITIES OF THE ANTIQUE OR IDEAL 
 HEAD— AND OF THE NATURAL CHARACTER, AS ILLUSTRATED BY THE FORM OF 
 THE SKULL. 
 
 1 HE painter has much to learn in observing the form of the skull. 
 He will often be directed in his drawing by the knowledge ac- 
 quired in this study ; he will learn also to mark the peculiarities in 
 heads of different ages; and even the distinctions of national cha- 
 racter, if he should be inclined to carry his studies so far. 
 
 Turning to Plate I. there is a division of the bones of the 
 head, which it may be useful for the painter to recollect. In 
 fig. 2. is presented a sketch of the scull in profile, and a distinction 
 may be observed between the globular part of the head or Cranium, 
 which contains and protects the brain; and the Face, which is 
 
24 
 
 formed of small, light, and irregular bones, containing principally the 
 organs of the senses, and forming at the same time the basis, as it 
 were, of the features. On this account, the latter is particularly 
 worthy of our attention at present. 
 
 On attentively considering fig. 2, and 3, we may observe certain 
 distinguishing peculiarities which must be preserved in drawing the 
 head of a child, and of an adult person. 
 
 The human head differs from that of every other animal in the size 
 of the Cranium, compared with that of the face. The human Cra- 
 nium (containing the brain) is particularly large. And as the brain 
 is a part which nature is provident to bring at an early period to 
 maturity, we see in the infant's skull, (fig. 3.) that the Cranium is 
 of great magnitude, compared with the face. The whole head has 
 a very different character from that of fig. 2. which is the skull of a 
 grown person. 
 
 To account for some of these peculiarities, may contribute to their 
 being more distinctly remembered. 
 
 The bones of the Cranium, in the grown person, are strong and 
 unyielding ; firmly united by a juncture, called the Suture. In 
 the child newly born (fig. 3.) we observe that the skull consists of 
 distinct laminae, or plates of bone, and that they are loose and uncon- 
 nected. This is a provision of nature for facilitating the birth of the 
 
25 
 
 child ; the bones of the head during labour, yielding and accommo- 
 dating themselves to the pressure. 
 
 There is in the general form of the head of an infant, and its 
 elongation backwards, another provision for the safety of the mother, 
 and the easy birth of the child. 
 
 We may observe then these 
 
 PECULIARITIES IN THE HEAD OF AN INFANT. 
 
 1. The oval elongated head. 
 
 2. The flatness of the forehead. 
 
 3. The smallnessofthe bones of the nose. 
 
 4. The smallness and shortness of the jaw bones. 
 
 5. The little depth of the jaw. 
 
 6 The smallness of the neck compared with the size of 1 fte head, 
 which is owing to the peculiar projection of the back part ot the head 
 (or Occiput.) 
 
 "■ Comparing again the two sketches, fig. 2. and 3. Plate I. we see 
 that in the old skull the face has increased in its proportion to the 
 whole head. The brow has not however increased in the same 
 proportion, though its form has so far changed, that there is now a 
 fullness and prominence towards the ridge of the eyebrows The 
 cause of this is explained in the view of the section of the skull, hg. 4. 
 where we observe, that in the forehead there is a cavity : which from 
 
 E 
 
 4 
 
26 
 
 the OS frontis, or frontal bone, is called the frontal sinus, and the 
 growth of which occasions the protuberance or projection over the 
 eyes, peculiar to manhood. This protuberance is represented in 
 fig. 1 . and 2. 
 
 Again we observe that in the progress from infancy to youth, 
 the upper jaw bone (the superior maxillarj^ bone) is greatly en- 
 larged ; for there is now formed in it also a great cavity, called 
 the maxillary sinus*. By this enlargement of the upper jaw bone, 
 which is the centre of the bones of the face, a new character is given 
 to the whole countenance. The bones of the nose are raised ; and 
 the nose is lengthened : the cheek bone (or os malse) is also made to 
 project. 
 
 But further, the growth of the teeth deepen both the upper and 
 loM'er jaw bones; and one necessary effect of this is, to make the 
 angle of the jaw bone under the ear, recede more towards the back 
 of the head. To make room for the full sett of teeth, the jaws are also 
 elongated. By the growth of the teeth, and of those processes of the 
 jaw bone which are necessarj^ to support and fix them, the face is 
 deepened, or made longer; so as todifier from the chubby face of a 
 child : and by the lengthening of the jaw, and particularly the reced- 
 
 * The cavities in the frontal and maxillary bones are connected with the cavity of 
 the nose, and are supposed to have a remarkable effect in giving the sonorous manly 
 tones to the voice. They are very small in women, and in children. 
 
 '-'\ 
 
27 
 
 ino- of the angle of the lower jaw, a manly squareness is g 
 
 siven 
 
 to the 
 
 chin. 
 
 In attending to the forms of the lower jaw bone, we may observe 
 several peculiarities distinguishing the face in different ages. 
 
 We have to notice the comparative length, the depth, nnd parti- 
 cularly the angle of these three jaws. 
 
 1 
 
 ^ 
 
 "•-^ 
 
 ■■•'f-^yi««^:-:: - ■ -^ I 
 
 
28 
 
 The cause of the smallness and roundness of a child's face is ap- 
 parent from the Httle projection of the point of the jaw at the chin, 
 and from the obtuseness of the angle behind. In the adult we ob- 
 serve a greater depth in the body of the jaw bone, and the teeth being 
 added, the base of the jaws must necessarily be more separated, and 
 of course the face lengthened. We see further, that as the teeth 
 shoot up behind, the jaw must be lengthened to accommodate them; 
 the chin therefore projects while the angle of the jaw recedes 
 backward. Lastly, when the teeth fall out, in old age, the processes 
 (or alveoli as they are called) which grew up with them and support- 
 ed them, waste away ; and there remains nothing but the narrow 
 base of the jaw, while the length of bone from the hinge of the jaw- 
 to the angle is undiminished. The" effect is perceived in the last 
 outline. The jaws are allowed to approach nearer to each other 
 at the fore part; the angle comes of course more forward and resem- 
 bles that of the child, but the chin projects also; the teeth and 
 adventitious part of the jaws being gone, the chin and nose ap- 
 proach, and the mouth is too small for the tongue ; the lips fall in, 
 and the speech is inarticulate. 
 
29 
 
 
 -=.'•=->■» 
 
 xV 
 
 
 '^1 
 
 
 // 
 
 /■'/ 
 
 \ 
 
 ta«v 
 
 ^ 
 
 
 !i\t 
 
 This sketch will illustrate the effect of the loss of the teeth, and 
 of that part of the jaw bone which supports them. We shall touch 
 
so 
 
 slightly on the other peculiarities of old age which this face pre- 
 sents, when treating of the muscles. 
 
 The next observation, which the view of these skulls natural])^ 
 suggests, on the subject of character, as it relates to youth or age, 
 is the distinguishing and necessary form of the child's head. We 
 obser^'e that the length of the skull in the child (fig. 3.) is from 
 the forehead to the back of the head. This great length, com- 
 pared with its depth, no doubt diminishes, as the child advances 
 in years; but still the largeness of the head, the projection of 
 the back of the head, and the flatness of the forehead, must be 
 attended to. 
 
31 
 
 In this marginal plate I have presented a sketch of a boy's head, 
 and of a head by Fiammingo, who was much celebrated for his 
 models and sculpture of boys. We see at once that Fiammingo is 
 out of nature. Instead of having given to the back of the head its 
 due preponderance, he has accumulated the mass to the top, and pro- 
 portionally diminished the space from the ear backward. The eye is 
 too deepjet for a boy ; the sinews of whose forehead, and the bones 
 of whose nose areliot yet raised : and tiierelsa protuberance mark- 
 ed on thelower part orHieTforebead which is quite peculiar to a 
 more advanced age. The only character of the boy which he has 
 preserved is the largeness of the head compared with the face, and 
 the falling in of the mouth and chin. 
 
 I believe he has in this deviation from nature proceeded on the 
 same principle with the ancients ; presenting us with an ideal form, 
 instead of strictly copying nature. I do not mean to censure these 
 peculiarities of Fiammingo's designs, nor shall I determine how far 
 they are necessary or allowable. I wish merely to point them out 
 for observation. 
 
 We may finally perceive that the peculiar character of the face in 
 manhood results from the increase of the number of teeth ; the depth 
 of the jaws; and the formation of the cells in the upper jaw bone 
 and frontal bones, and particularly the former of these cells; for by 
 the enlaro-ing of the upper jaw bone the nose is elevated and arched, 
 and the cheek bones are thrown further out. 
 
32 
 
 When we look upon an European head or common skull in pro- 
 file, we may observe that if the lines have a tendency to one direction, 
 the physiognomy approaches to that of a brute ; if to the opposite 
 direction, it presents the line of the antique head. This leads me to 
 believe that in the ideal form of the antique head, the great prin- 
 ciple of design was to magnify the proportions which mark the pe- 
 culiarity of the human countenance, compared with that of the lower 
 animals. 
 
 The better to explain what I mean, I have presented these 
 sketches. 
 
 ]t is necessary' only to attend to the changes produced by varying 
 the line of the face, as drawn f'-omthe lower part of the forehead to 
 the teeth, or projecting processes of the jaws. 
 
 ^"S^ 
 
33 
 
 We shall readily perceive the effect of an extraordinary projection 
 of the alveolar processes of the jaws and teeth — the facial line 
 of course falls back, and its inclination is followed by tlie projection 
 of the eye, and flatness of the nose and forehead. The appearance 
 of the head passes from that of the European, to that of the negro — 
 from that of the negro, to that of the brute*. 
 
 The peculiarities in the head of the negro and Calmuc are conse- 
 quences of the conformation of the skull. It is observed, 1st. That a 
 line drawn upon the processes of the upper jaw, which support the 
 teeth and the forehead, recedes very much. 2dly. The space from 
 the nose to the teeth is very deep. 3dly. The inclination of the 
 head is backward, which of consequence raises the face. Professor 
 Camper observes, that this elevation of the face is owing to the 
 heaviest part of the head being behind. I think it is the reverse. 
 The head being moveable on the pivot of the vertebrae, must be 
 always balanced; and if it were heavier backward, it would be in- 
 clined forward to relieve the muscles and balance the head. But 
 being heavier before, and falling naturally forward in the negro, it is 
 thrown backward to poise it and relieve the muscles which support 
 the head behind. 
 
 * It is not merely the inclination of the facial line, however, in the full extent of Pro- 
 fessor Camper's expression, that produces these changes ; I speak of the facial line, 
 merely, as serving to point out some further distinctions to be observed, for it is suf- 
 ficiently proved, that Camper's accurate measurement of angles will not support his 
 system. See Blumenbach, Decad. Col. Craniorum, p. 9. 
 
 F 
 
.^4 
 
 If we make a sketch of a head with the shoulders elevated, the 
 head thrown back, the line of the face inclining very much back- 
 ward, the jaws prominent, the lips thick, the nose flat, and the space 
 betwixt the nose and the mouth large, Ave shall have the unequivocal 
 character of the negro head*. 
 
 In the brute, as the food is gathered by the mouth, the strength is 
 in the jaws. The brain or sensorium is smaller, the forehead 
 is therefore flatter, and the comparative size of the upper part of the 
 face is diminished. The face is diminished in depth, while the jaws 
 are lengthened by the projection of the mouth. The space between 
 the ear and the eye is greatly enlarged, to afibrd room for a larger 
 temporal muscle for the stronger motion of the lower jaw. In con- 
 sequence of this the socket of the eye is projected forward, and in 
 order to give prominence to the eye, the nose is flattened. The 
 prominence of the eye gives a larger sphere of vision. 
 
 To give to the human head the air of the antique, the reverse of 
 
 * " The sloping contracted forehead, small eyes, depressed nose, thick lips, and 
 projecting jaw with which the African is usually delineated, are by no means con- 
 stant traits." Among those of them whom either curiosity or commerce had attracted 
 to the settlement of Sierra Leone, " I saw a youth (says Winterbottom) whose features 
 were exactly of the Grecian mould, and whose person niigiit have afforded to the 
 statuary a model of the Apollo Belvidere." See Winterbottom's interesting account 
 of Sierra Leone. This variety amongst the Africans must be admitted ; it is merely 
 allowing wliat Buflbn has expressed, that they have their Circassians and their 
 Tartars ; but it is sufficient to pass through the streets of London to be convinced of 
 the generally prevailing character. 
 
S5 
 
 these proportions must be observed. Tlie line A. B. fig. 2. being 
 brought to the perpendicular, the eyes are thrown backward, and 
 the space from the eye to the out line of the eyebrow and forehead 
 deepened. Accordingly we find that the most striking peculiarity 
 of the antique head is the deepness of the eye, and the perpendicular 
 line of the forehead and nose. We cannot fail to observe that the 
 deepness of the eye in the ideal head has not the same effect which 
 it would have in natural physiognomy. The reason is, that in rela- 
 tion to the face in general and the cheek bone, the eye is not 
 sunk, but only in relation to the greater elevation given to the 
 frontal and nasal bones. From not attending to this, Wiakelman, 
 with all his enthusiasm, cannot reconcile this peculiarity of the 
 antique to his idea of beaut3^ He supposes the artist to have in this 
 studied the effect of light only. ' II est vrai que des veux enfonces 
 ne sont pas une propriete de la beaute, et ne donnent pas un air 
 oiivert a la physiognomic, mais, dans les grandes figures placees a une 
 certaine distance de la vue, les yeux auroient peu d' effet sans cet 
 enfoncement, &c.' Winkelman, 458. 
 
 Again, the peculiar roundness of the chin, and lower part of the 
 face, is the effect of the shortening of the jaw, which is made more 
 remarkable by adding in fleshiness to those muscles which move the 
 lips, are the organs of speech, and serve to express the passions. The 
 fleshiness of the chin and lips is remarkable in Grecian heads. 
 
se 
 
 V 
 
 
 
 //^^^'' 
 
 I compare here the skull as seen in front with ±he general form 
 of the antique head. We shall find that they disagree in many 
 points. 
 
 We observe a great breadth in the forehead of the antique, more 
 than is natural to the skull. The orbits are large, and the angles 
 formed by the cheek bones of the common skull would be cut off, 
 w^ere we to apply the oval of the antique face to the naked bones; 
 the angles of the jaw would likewise be cut off. In the first figure 
 the lower part of the face tapers into an oval, because of the smallness 
 of the jaw bones. 
 
37 
 
 To brutify a human countenance we have only to diminish the 
 forehead, bring the eye nearer, lengthen the jaws, shorten the nose, 
 and depress the mouth. If this be done, no expression of individual 
 features will give elevation to the character. A breadth and square- 
 ness in the lower part of the face is quite consistent in a vulgar head, 
 with a certain representation of strength and manliness, but if the 
 eyes be diminished, and the space between them contracted, the 
 expanse of the human countenance is lost, and there can remain no 
 dignity of expression. 
 
 The largeness of the orbit, with a full . eye, is not only a great 
 beauty in itself, as a feature of expression, but it necessarily takes off 
 from the prominence of the cheek bone, and gives the oval cast to 
 the face* ; and the prominence of the cheek bones, which we regard 
 as a deformity, produces a disagreeable effect, not from the jutting 
 out of the bones merely, but from its being accompanied in general 
 by nearness and smallness of the eyes. 
 
 The peculiarities of national character, and of the antique. Pro- 
 
 * I believe the expressions, " The awful goddess ample-eyed" — or, " With eyes 
 full-orbed, the spouse of Jove," are allowed by the commentator on Homer to bejust 
 translation. They observe, " magni autem in muliere latique oculi ac multum 
 licantes pulcherrimum Grecis maxima atque Hebrseis habebantur." In the Jupiter,. 
 Juno, and Apollo, the eye is by the artists of antiquity made large, open, and round. 
 Winkclinan says, they are so also in statues of Pallas ; but the eye-lid is lower, which 
 conveys a modest and virgin air. In Venus, on the contrary, the eyes are smaller,, 
 and less majestic, and have a certain languor, from the breadth given to the lower- 
 eye-lid. 
 
38 
 
 fessor Camper has attempted to distinguish and ascertain by the 
 measurement and inclination of the facial line. But he has not been 
 successful in his attempt. It is possible, m contradiction to the lead- 
 ing principles of his theory, that a face or a skull may have the due 
 prominence of the orbit, and the sockets of the teeth in such a 
 relation to each other, that the facial line shall be perpendicular, 
 and yet the head, instead of resembling the antique statue, be 
 evidently deformed and ugly*. 
 
 Blumenbachf is the great antagonist of Camper's oj)inions 
 respecting the facial line as a test of national character. This author 
 rejects the method of lines as a fit distinction of national character, 
 and of the peculiar physiognomy of individuals; for those very dis- 
 proportions in measurement, which, according, to the supporters of 
 Camper's theory, distinguish national character, are found in the 
 skulls of individuals of the same nation. Rejecting therefore the 
 
 * See Professor Camper on the connection between the science of anatomy, and the 
 arts of drawing and painting, &c. In this work are pointed out many peculiarities 
 in the skulls of animals, and in the human skull in different nations. And although 
 Camper he wrong in his theory of the facial line, his remarks and sketches must be 
 very useful to the historical painter when he has to represent national character. 
 His book was published in the Dutch language, and for an English translation of it 
 we arc indebted to Dr. Cogan. 
 
 + It is not easy for those who sliudder to look upon a skeleton to conceive the very 
 different traces of thought and association which arise in the mind of the anatomist 
 from the contemplation of the same subject. Biumeni)ach (Dec. Collect. Craniorum) 
 speaks with as much feeling and enthusiasm of his skull of the Georgian girl, taken 
 by the Russians in the war with the Turks, as Winkelman does of the winged genius 
 of the villa Borghese. 
 
39 
 
 method of D'Aubenton, A. Durer, and Camper, he substitutes 
 a more minute survey of the skull in general, and particularly of the 
 frontal bone and maxillary bones. He cannot be wrong in this ; for, 
 in fact, the frontal bone, and the jaw bones, either produce, or are 
 themselves affected by, every possible variety or change in the cra- 
 nium or face. The frontal bone, no doubt, as it forms a great part of 
 the cranium, indicates the globular form of the cranium ; the eleva- 
 tion of the vertex; the narrowness betwixt the temples: and as it 
 forms so distinguishing a part of the face, it must indicate the form of 
 the forehead, and the arch of the orbit. Again, the upper jaw-bone 
 infallibly gives the breadth of the nostrils, the projection of the cheek- 
 bones, the form of the nose, and the breadth or flatness of the face. 
 But notwithstanding all this, the foundation of Blumenbach's ob- 
 servation is deficient in simplicity. He wants a leading principle to 
 make his theory extensively useful. His general result is, that there 
 is not sufficient distinction in the skulls of different nations to lead us 
 to refer them to different origins, and that they differ in no more 
 remarkable degree from each other, than we see individuals of the 
 same species of domestic animals differ. 
 
 As I have already hinted, I would refer the peculiarity of the 
 beautiful and impressive form of the antique head to this principle, 
 that the ancient artists sedulously avoided whatever was deemed 
 characteristic of the brute, and magnified those dimensions of 
 the human countenance which maik the distinguishing attributes 
 of man. 
 
40 
 
 The principle of composition among the ancients is worthy 
 of our study. Painting was with them more of a science ; with the 
 moderns it is more of an art. The former always sought to discover 
 among those sympathies and associations which often influence our 
 judgment so unconsciously as to appear even like prejudices, some 
 leading principle of composition : they soon left mere imitation, 
 and advanced to a higher study, that of ideal form, in which they 
 endeavoured to combine excellencies, and to avoid whatever might 
 tend to injure the design or to impair its effect. And in this pur- 
 suit they seem to have studied with peculiar care the forms and ex- 
 pression of animals as contrasted with those of mankind. 
 
 We trace this method of study in many pieces of antiquity, 
 where the artist has endeavoured to convey the character of dignity, 
 or bodily strength, or courage, by transfusing into his composition 
 some of the peculiar forms of animals, as in the personification 
 of gods and heroes*. 
 
 * Pour pexl qu'on examine la configuration du roi des dieux, on decouvre dans les 
 tttes toute la forme du lion, le roi des animaux ; non seulement a les grands yeux 
 ronds, a son front haut et imposant, et a son nez, mais encore a sa chevelure, qui 
 descend du haut de la tete, puis remonte du c6t6 du front et se partage en retom- 
 bant en arc : ce qui n'est pas le caractere de la chevelure de rhomme, mais celui de 
 lacriniere du lion. Quant a Hercule, les proportions de sa tete au cou nous oftVent 
 la form d'un taureau indomptable. Pour indiquer dans ce heros une vigucur et une 
 puissance supdrieures aux forces humaines, ou lui a donn6 la t6te et le cou de cet 
 animal ; parties tout autrement proportionndes que dans rhomme, qui a la tete plus 
 grosse et le cou plus mince." Ouvres de VVinkelmann, p. 367 — 368. 
 
41 
 
 We may trace it also in ancient masks, satyrs, fawns, and 
 centaurs ; and I have placed at the end of this chapter a drawing 
 from an antique mas-k, which may sene in some degree as an 
 illustration of this. In this composition it was the artist's design to 
 brutify the countenance, and accordingly we see all the pro- 
 portions and expression, which we are accustomed to admire in the 
 outline of the antique head,, reversed. This peculiarly ludicrous 
 effect is produced by the union of brutal physiognomy with human 
 expression. The flatness, breadth, and depression of the nose, 
 the direct exposure of the nostrils, and the prominence of the eyes, 
 characterize the brute ; but in the form of the mouth and the lines 
 of the eyebrows there is wild laughter. 
 
 The frequent representation of fawns, satyrs, centaurs, and masks*, 
 necessarily forced the artists of antiquity to study the peculiarities 
 
 * We sometimes see ex'iibited in paintings of fawns and sylvan boys, by modern 
 anists, such sober, wise, and reflecting human countenances, that they give no repre- 
 sentation whatever of those festive deities. At the bottom of the staircase of the 
 Royal Academy, the painter may observe in the configuration of the nostrils of the 
 two centaurs, the moveable membranous nose of the horse. In these monstrous com- 
 binations, while the parts are joined, they must be composed into a whole; and in 
 reconciling the mind to the representation of these discordant parts lies the great 
 merit of the composition. 
 
 faber imus et ungues 
 
 Exprimet, ct molles iniitabitur ane capillos 
 
 Infelix operis suuima, quia ponere totuoi 
 
 Nesciet. 
 
4i 
 
 of brutes, and to engraft them on the human form. What then 
 was more natural or obvious, while observing the effect of these 
 forms and expressions transferred to the human countenance, than 
 the persuasion that this character should be sedulously avoided, and 
 the proportions which mark it reversed, in order to convey the 
 dimified and characteristic form of man? 
 
 The ancient artists, in representing the sylvan deities, centaurs, 
 fawns, or satyrs, did not merely give them hair and cloven feet, but 
 bestowed on them a certain combination of character, very difficult 
 in execution, but which alone can reconcile us to the palpable 
 absurdity; a coltish wildness in gesture; a goatish expression 
 of countenance or festive hilarity, with features in which there 
 is more of common nature than of" dignity, and which are in some 
 conformity with the hair and the hoof; a body and limbs muscular 
 and powerful i a skin browned, and of a high colour, such as 
 the savage wildness of their life may be supposed to produce. 
 
 Modern artists hazard their reputation, when they are employed in 
 bestowing the line of beauty on a face or limb, by giving any 
 particular curve or gradation of outline ; and they appear co me 
 equally to depart from all the modes and habits of composition of the 
 ancients, and to lose all chance of imitating the antique with success. 
 We see the artists of antiquity combining acknowledged excellencies, 
 but not following a vague and evanescent form of beauty. They 
 
43 
 
 seem to have always endeavoured to imitate some acknowledged 
 beautiful forms of age or sex. First, to have combined the beautiful 
 forms ofindividuals of the same sex and age, and then to have com- 
 bined the beauty and character of different ages: thus, in the Apollo, 
 there is united manly dignitj'^ in the proportions and attitude with 
 youthful beauty in the simplicity of the contour ; nay, thev even 
 ventured to combine the beauties of both sexes, for example, in the 
 young Bacchus, or more decidedly in the hermaphrodite. The 
 highest effort of art was to represent man deified, purified from the 
 grosser character of nature. Of these species of ideal representation 
 are all the sculptures of the deities. Surely the artists in all this were 
 not trusting to their own ideas of beauty, nor considering it as an 
 abstract quality. As in the antique, therefore, each variety had its 
 character established in nature, and resulting from an imitation of 
 particular beauties, it must be impossible to imitate their works, or 
 even to appreciate their high degree of merit, until w^e are awakened 
 to natural beauty of sex, age, character, and expression. It really 
 appears to me, that those who affect to be enthusiasts in the antique, 
 either mistake the nature and foundation of their sentiments, or have 
 no real feeling of the beauty of form, when they affect to despise 
 natural beauty ; for to be susceptible of the beautiful forms of 
 nature is the first step to the admiration of the antique. 
 
 Sir Joshua Reynolds has given a very ingenious view of the theory of 
 beauty; that beauty is the medium or centre of the various forms of "the 
 
44 
 
 individual ; that every species of animal has a fixed and determinate 
 form, towards which nature is continually inclining, like various lines 
 terminating in a centre, or like pendulums vibrating in different 
 directions over one central point, and as they all cross the centre, 
 though only one passes through any other point, so it will be found 
 that jjerfect beauty is oftener produced than any one kind of 
 deformity. 
 
 But how shall we reconcile this with the form of the antique ? 
 Though this theory may account for the straight line of the ridge of 
 the nose being more beautiful than that Avhich is concave or convex, 
 because it is the central form, it will not explain the peculiarity of 
 the form of the nose, brow, and eye of the antique. The minute 
 fonn of the individual features may be made beautiful upon this 
 principle, but the peculiar form of the whole remains still to be 
 understood ; and thus there is suggested a higher object of study, 
 than what is to be found in the mere comparison of individual 
 beauties. 
 
 I have endeavoured to place the subject in another view, and to 
 shew that the noble and imposing form of the antique resulted from 
 a deep and more extensive survey of nature. I conceive the artists 
 of antiquity to have studied the deformities, as well as the beauties, 
 of the human countenance; and observing the prevailing lines of a 
 low and disagreeable countenance, to have traced this effect to 
 
45 
 
 an association with a lower species, and hence to have deduced 
 their principle of ennobling the form of the head, by increasing those 
 peculiarities of character, the indication of intellect, and the powers 
 of expression, which distinguish the human form, and by carefully 
 reversing those proportions which produce a resemblance to the 
 physiognomy of brutes. While we seek to discover the superiority 
 of the antique form in the direction of the lines, the elevation of the 
 facial line, or even in the proportions of the several parts, without 
 examining the cause of our ready acquiescence in that as beautiful, 
 wliich yet is not natural, or m ithout tracing the association which 
 affects our judgment, the result of the inquiry must be vague and 
 unsatisfactory, while the principle which influenced the ancients 
 is not established. It is evident, that the line of the antique 
 face can not be the medium, or central, line of" the beautiful in 
 nature. And it is scarcely probable, that the line of the nose and 
 forehead of the antique should be the prevailing line in a natural 
 head, or that it should even have resulted from a selection of natural 
 beauties of individual form. 
 
 No man has bestowed more labour on the measurement of skulls, 
 and their comparison with the antique, than Professor Camper, and 
 in conclusion he says, " If it be now asked what is meant by 
 a fine countenance, we may answer, that in which the facial line 
 makes an angle of 100 degrees with the horizon. The ancient 
 Greeks have consequently chosen this angle." There is no satisfac- 
 
46 
 
 toiy conclusion in saying, that a head is beautiful, because it is 
 four noses in length ; or a face, because the eyes are in the middle 
 of the head*; or that the figure is elegant, because it is seven 
 or eight heads in height ! for the question still remains, why do these 
 proportions produce a beautiful head ? 
 
 Professor Camper betrays a still more remarkable degi-ee of neg- 
 ligence, in tracing the origin of our ideas of beauty, when he says, we 
 are pleased with a child without acknowledging it to be beautiful ; 
 and that the form of a child, abstracted fi-om its playful vivacity, its 
 perfect simplicity, or affectionate attachment, has nothing pleasing in 
 it. For these very reasons I hold a child to be the most pleasing, 
 and being the most pleasing, the most beautiful object in the world. 
 The natural form of a child is the only species of beauty so perfect 
 in character and expression, that it cannot be excelled by art, nor 
 receive addition by the adoption of an ideal form. 
 
 In concluding my remarks on the form of the head, I may venture 
 to affirm, that there cannot, in this part of his study, be a more im- 
 
 * " The head of the Apollo, or Venus, or Laocoon, is universally allowed to be finer 
 or more beautiful than the heads of our best proportioned men and women. Whence 
 does this proceed? Perhaps it is because in antiques the eyes are placed exactly in the 
 centre of the head, which is never the case with us." Again, •' The proportions given 
 by the ancients to their figure are not beautiful in our eyes merely from a weak 
 prepossession in favour of all that is handed down to us, but because they have 
 corrected the defects which arise from the laws of vision." 
 
47 
 
 portant subject for the observation of the artist, than the form of 
 the frontal bone. Much of the character of the whole head will be 
 found to depend on the contour of the forehead, the ridges of the 
 temples, the prominences formed by the cavities in this bone, and, 
 lastly, the arch of the orbit. 
 
 For example, we often see a painting in which the whole figure 
 and the general design of the picture is subservient to the display 
 of the light playing on the temple of an old man. Some painters, in 
 these profiles of old heads, are satisfied with the effect of light 
 merely on the furrowed brow and on the rough hair ; but how 
 much more beautiful is the picture, when the anatomy is displayed, 
 the thinness of a care-worn face, the ridge of the frontal ]:)one 
 highly illuminated, the veins in their course over the temple, 
 the delicate transparent colours of the skin, the shade of floating 
 grey hairs ! — So much character will often be produced by the 
 simplest touch presenting the true anatomy. 
 
 Instead of mechanical rules for drawing the face, I would re- 
 commend to the young painter to have the skull much in his 
 hands, to observe the bearing of certain points, the ridge of 
 the orbit, the prominence of the cheek bone, the angle of the jaw, 
 as he turns it, and to draw from it in every possible variety of 
 position ; by these means he will lay a foundation for most 
 
43 
 
 accurate drawing and foreshortening, •whUe he will acquire a turn 
 for obser\'ation on the human countenance which he cannot othcr- 
 wi^e attain. 
 
 j^^ 
 
 ■ii"^ 
 
 
 ^ 
 
 ^■■fllOiSK* 
 
EXPLANATION 
 
 OF 
 
 PLATE I. 
 
 OF THE ETCHINGS OF THE SKULLS. 
 
 After these observations on the form of the Skulls here presented, 
 I shall shortly point out the most remarkable bones and processes as 
 they regard our present enquiry. 
 
 Fi''. 1. The Skull of a Man fully grown, presented in a front 
 
 view 
 
 A. The Frontal Bone (os frontis). 
 
 B. The Protuberances formed by the Frontal Sinuses, 
 
 (see the section of these cavities in fig. 4). 
 c. The Temporal Ridge of the Frontal Bone; on which 
 the form of the temple depends. 
 
 H 
 
50 
 
 D. The Cheek Bone (or os malae). 
 E. E. The Upper Maxillary Bones. 
 
 F. The Nasal Bones. 
 G. G. The Orbits or Sockets for the Eye Balls. The circle 
 of their margin is seen to be formed of the fi'ontal bones, 
 the cheek bones, and the superior maxillary bones. 
 H. H. The Temporal Bones. These hollows are filled with a 
 strong fleshy muscle, which arising upon the side of the 
 skull, passes down through the arch to be inserted into 
 the lower jaw bone. 
 I. I. The Mastoid or Mamillary Processes of the Tempo- 
 ral Bone. These are the points into which the strong 
 mastoid muscles which give form to the neck are inserted. 
 K. The Lower Jaw. 
 l. The Angle of the Lower Jaw. 
 
 M. The Processes of the Jaws which form the sockets for 
 receiving the roots of the teeth. 
 
 Fig. 2. Is the Skull of an Adult seen in Profile, in which we have 
 to remark these parts : 
 
 a. The Frontal Bone. 
 B. The Temporal Bone. 
 
 c. The Zygomatic Process of the Temporal Bone, which, 
 with the process of the cheek bone, forms an arch, under 
 which the tendon of the temporal muscle passes to be 
 inserted into the lower jaw. 
 
51 
 
 D. The Hole, or Foramen of the Ear; a little below this 
 
 is the mastoid process of the temporal bone. 
 
 E. The Parietal Bone, so called because it forms the greater 
 
 part, as it were the wall of the skull. 
 
 F. The Occipital Bone. 
 
 These bones are united by sutures, in which the processes of the 
 bone as they grow, seem to run out, and indent into the opposite 
 bone without there being an absolute union of the whole cranium, 
 That which unites the frontal bone, and parietal bones, is called 
 the coronal suture ; that which we see here uniting the parietal bone, 
 and temporal bone, is called the squamous or temporal suture. 
 That line which is betwixt the occipital and parietal bones is the 
 lambdoidal suture ; lastly, the union of the parietal bones is called 
 the sagittal suture, because it is laid betwixt the lambdoid and 
 coronal sutures, like the arrow betwixt the bow and the string. 
 
 There are many lesser sutures which unite the smaller bones of 
 the face, but they need not be mentioned here. 
 
 G. The Cheek Bone (os malse). 
 
 H. The Upper Jaw Bone (or os maxillare). 
 I. The Bones of the Nose (ossa nasi). 
 K. The Lower Jaw (inferior maxilla). 
 L. The Angle of the Jaw. 
 
52 
 
 M. The Process of the Jaw which moves in the socket in 
 the Temporal Bone. 
 
 N. The CoRONoiD Process of the Jaw into which the tem- 
 poral muscle is fixed to move the jaw in conjunction 
 with other muscles. 
 
 Fig. 3. Represents the Skull of a Cliild at Birth, in which the 
 sutures are not yet formed, the bones of the cranium being loose, and 
 attached by their membranes only. While spaces may be observed, 
 left unprotected from the imperfect ossification of the bones. 
 
 The individual parts require no references; they will be sufficiently 
 understood from their correspondence with fig. 2. 
 
 Fig. 4. Is a Section of the Cranium, in which the only thing meant 
 to be particularly remarked, is the cavity which is to be observed in 
 the frontal bone, viz. The frontal sinuses. 
 
ESSAY III. 
 
ESSAY III. 
 
 OF THE lilUSCLES OF THE FACE IN IVIAN AND IN ANIMALS. 
 
 If we except the two muscles Avliich move the lower jaw, all the 
 others which are seen in the 2d and 3d plate are cutaneous 
 muscles; that is to say, their fixed extremity fiom which they 
 operate, or what is called their origin, is in general attached to some 
 point of bone; their insertion, or the point upon which they operate 
 Ls in the elastic and moveable integuments of the face. These 
 muscles moving the features, it is difficult to demonstrate perfectly in 
 every respect, because there are many of them which, unlike the 
 fleshy muscles of the limbs, are very delicate fibres interwoven with 
 the fat and cellular membrane. As the form of the bones of 
 the head shows that nature has been provident of a superiority in 
 that organ, on which the intellect and superior intelligence of man 
 
56 
 
 depend, so in the muscles of the face there is a superiority of 
 expression in the human countenance. This superiority we shall pre- 
 sently see in part to depend on the action of muscles peculiar to man, 
 and the sole destination of which seems to be limited to this greater 
 aptitude for expression. It partly is attributable also to that perfec- 
 tion of muscular structure and action, which is necessary to the 
 motion of the lips and cheeks in the modulation of the voice. 
 
EXPLANATION 
 
 OF 
 
 PLATE II. 
 
 This plate represents the muscles of the face as they appear in a 
 front view, after a careful dissection, in which the skin and fat are 
 taken off. 
 
 A. A. The Frontal Muscle. This is an expanded web of mus- 
 cular fibres, which covers all the forehead. 
 
 It is, in truth, only a part of a muscle which has two bellies or 
 muscular portions, one on the occiput or back of the head, the 
 other on the forehead, with an intermediate tendon, and is therefore 
 called the Occipito-Frontalis Muscle. 
 
 The Occipito-Frontalis Muscle arises with a fleshy web of 
 fibres (similar to those which cover the forehead) from the back 
 
58 
 
 part of the head * or occipital bone, then changing into a sheet of 
 very delicate tendon, it covers all the head, but on the brow it again 
 becomes muscular. This frontal portion of the muscle is inserted 
 into the skin, under the eyebrows -f, while some of the fibres make 
 a turn downward, and are fixed into the process of the frontal bone 
 in the inner angle of the eye, and another slip passes down upon 
 the nose (the nasal slip.) 
 
 B. B. The CoRRUGATOR SupERCiLii, or a transverse slip of muscle 
 which knits the eyebrows. Upon its inner extremity it is 
 fixed upon the frontal bone, while the other is attached to the 
 skin under the eyebrow. 
 
 c. c. The Circular Muscle or the Eyelids, (Orbicularis Pal- 
 pebrarum.) It consists of circular fibres, somewhat irregular on 
 the outer margin, which by their action close the eye. There 
 is a little tendon in the inner angle of the eye, which may be 
 
 * The upper transverse ridge of the occipital bone, and all the length betwixt 
 the mastoid processes of the temporal bones. 
 
 t Independently of its action, the mere fleshiness of this muscle gives character. 
 Many of the antique heads of a mature age can have little expression but what is con- 
 veyed by the eye and eyebrows, the beard covering the lower part of the face. The 
 brow of Hercules wants the elevation and form of intelligence ; but there will be 
 observed a fleshy fullness on the brow and around the eyes. This conveys an idea of 
 dull brutal strength, with a gloomy lowering expression, which accords with the 
 description of the poet, Iliad E. v. 550 — 560. 
 

 Lenthn 
 
 lUluM by /■«mm„Kyt.:\run^'l°' 'i'^"^' 
 
59 
 
 considered as the fixed point for this muscle, both origin and 
 insertion. Some anatomists describe it as two semi-circular 
 muscles. 
 
 The effect of its violent action on the eyelids is seen in the mar- 
 ginal plates illustrative of the expression in Laughter and Weeping. 
 
 OF THE ACTION OF THESE THREE MUSCLES. 
 
 We see schoolboys moving their hats from their heads by the 
 motion of their scalp, which is by the alternate action of the occipital 
 and frontal portion of the Occipito-Frontalis muscle. The 
 portion on the back of the head is the fixed point. What anatomists 
 call a biventer, or two bellied muscle, is a muscle having two dis- 
 tinct muscular bellies, but which act in unison ; but these two por- 
 tions of this muscle are antagonists to each other. When the 
 frontal portion contracts, the eyebrows are raised and arched, and 
 the transverse furrows are strong across the forehead, Avhile the skin 
 of the forehead is raised, the hairj^ scalp is pulled down, t'le frontal 
 portion being in action, and the occipital portion yielding or relax- 
 ing; but when the frontal portion ceases to act, the forehead is 
 smoothed, and while the posterior or occipital portion draws back 
 the moveable scalp, or integuments of the head, in some degree the 
 action of the circular fibres of the eyelids brings down the eyebroAvs. 
 
60 
 
 When the brow is furrowed with wrinkles across, by the action of 
 the frontal portion of the last muscle, it is smoothed by the action of 
 the occipital portion in part, but chiefly by the coiTugator supercilii, 
 the nasal portion of the occipito-frontalis muscle, and the upper por- 
 tion of the orbicular muscle of the eyelids. 
 
 When the eyebrows are contracted (as in the marginal plates of 
 Rage and Weeping,) it is by the action of the Corrugator Super- 
 cilii and the descending slip of the occipito-frontalis. Generall}^ 
 in violent contraction of the eyebrows, the orbicular muscle of the 
 eyelids is also in action, as in marginal plate 14. 
 
 In the common motion of shutting the eye in a gentle degree, as 
 during sleep, it is the upper eyelid only which moves. When it is 
 opened, it is by the action of the muscle \a hich comes from the bottom 
 of the orbit, and is inserted into the margin of the uj^per eyelid. 
 The lower eyelid has no muscle which opens it. When the eye is 
 shut with great force, as in laughing and crying, (see marginal plates 
 in the next section,) it is chiefly by the outer and more straggling 
 circle of fibres; during this action the frontal muscle is in relaxation. 
 By this action of the orbicular muscle of the eyelids, the ejxball is 
 pressed into the socket, and the tears pressed out so as to flow over 
 the cheeks*. 
 
 * The gland which secretes the tears is seated above, and a little to the outside of 
 the eyeball, the ducts of this gland open under the eyelids, and by the motion of 
 
61 
 
 In a smooth unruffled countenance these four muscles are poised, 
 and counteract each other. When there is a degree of paralysis in the 
 nerves which supply either of them, the opposing muscle acquires a 
 preponderance, and distorts the features, and often from this cause 
 we shall see the eyebrow fallen down. 
 
 In drunkenness, which often produces a temporary paralysis, the 
 eyebrows are sometimes unequally elevated. We shall find in 
 Hogarth's print of A Midnight Modern Conversation, Gin-lane, and 
 several others, that this unequal elevation of the eyebrows produces 
 much of the character of the drunken countenance. It is an unusual 
 exertion of the frontal muscle to counteract the heaviness of the 
 eyelids, which produces the elevation of the eyebrows. The same 
 effect is perceived in the last plate of the next section on expression. 
 
 II. 
 
 D. ]Marks a set of fibres which arise from that part of the upper jaw 
 bones which supports the nasal bones*, and which descend to 
 be attached to the nostrils and to the upper lip. In its action it 
 raises the upper lip and the nostril ; it is called, therefore. 
 Levator Labii superioris Al^eque Nasi. 
 
 the eyelids the fluid is spread over the eye. When the eye is closed there is still a 
 channel left betwixt the margin of the eyelids, by which the tears run to the j)oints 
 of two little ducts near the inner angle of the eye, by which they are absorbed, and 
 carried into the nose. 
 
 * By a little double tendon from the nasal process of the upper jaw bone 
 
62 
 
 E. A set of fibres which compress the nostril, called Compressor 
 
 Naris. 
 
 F. The muscle which, raising the upper lip, is called Levator 
 
 Labii Superioris Proprius. It arises from the upper jaw 
 bone near the orbit, and is attached to the upper lip ex- 
 clusivel}^ 
 
 G. The Levator Anguli Oris, This muscle, lying under the 
 
 Levator Labii Superioris, is shorter of course, and runs into 
 the meeting of the lips; it raises the angle of the Mouth 
 
 directly. 
 H. The Zygomatic Muscle, so called from its origin in the 
 Zygomatic process of the cheek bone*. It passes down to the 
 angle of the mouth. 
 
 There is sometimes a Zygomaticus Minor : it is as an additional 
 slip to the last muscle. 
 
 We may observe here, that these five last muscles, (excepting the 
 Constrictor Nasi) are those which raise the mouth, make the cheek 
 full, and are expressive of cheerfulness. We^ee from the connec- 
 tion of these with the nostril, that it must move together with the 
 lip. The depressing muscle m is particularly strong. Often it is 
 seen distinctly in the living face, and is the antagonist of these so far 
 as regards the motion of the angle of the mouth. 
 
 * The Zygoma is the arch formed by the process of the cheek and temporal bone. 
 Seep. I. fig. 2. c. 
 
63 
 
 K. The Orbicularis Muscle of the lips, bemg a series of circular 
 fibres, which forms much of the fleshy substance of the lips. It 
 closes the mouth, and is in direct opposition to the others, for all 
 the levators and depressors of the lips are opponents and anta- 
 gonists to these circular fibres. 
 
 L. The Depressor AljE Nasi, 
 
 M. Nasalis Labii Superioris. 
 
 N. The Triangularis Oris, or Depressor Labiorum, which 
 is a strong triangular muscle arising from the base of the jaw 
 and inserted into the angle of the mouth; it is called Tri- 
 angularis Oris from its shape. 
 
 o. The Depressor of the Lower Lip. This muscle forms the 
 prominence of the chin, and being of a square form, is some- 
 times called QuADRATUs Menti. 
 
 p. The Levatores Menti. These are small but strong muscles, 
 which arising from the lower jaw near the root of the teeth, 
 descend, and are fixed into the chin, so that by their action 
 they throw up the lower lip with a contemptuous expression. 
 
 We see that the muscles have in general a tendency to the two 
 most moveable parts of the face, either to the eyebrows (and particu- 
 larly their inner extremity) or to the angle of the mouth; evidently 
 
64 
 
 indicating that these are the parts on which the expression chiefly 
 depends. We see that in these muscles in the lower part of the face 
 there is an equipoise produced, first fi-om muscles of either side acting 
 with equal powers, and from both these again being counteracted 
 by the circular fibres of the lips. 
 
 Q. The Buccinator, is a muscle named from its effect in blo^^^ng 
 the trumpet. It is attached to the upright part of the lower 
 jaw, and to the alveolar processes of both jaws, and passes 
 forward to the angle of the mouth. It draws the angle of the 
 mouth directly backward, and contracts the cheeks when they 
 are distended with air. 
 
 The union of all these muscles in the angle of the mouth causes 
 the fleshy prominence so peculiar to those who have a thin face; 
 but Avhen the cheek is full, the action of these muscles upon this 
 point, produces the dimpled cheek. We see lying on the 
 Buccinator (q.) a small quantity of fat, Avhich fills up the deep 
 space in the cheek. When in sickness this fat is reduced, the cheek 
 *falls hollow, and the strong muscles, g. m. q. are prominent. (See 
 the marginal plate of the character of Death.) The wasting of the 
 grinding teeth has also an effect in hollowing the cheek. 
 
 B. The thin web of muscular fibres, which covers the side of the neck, 
 and which rises over the jaw, and expands upon the face, is 
 called by anatomists the Platysma Myoides. The painter 
 
65 
 
 will have frequent occasion to attend to its action. The 
 part which we see here passing forward to the angle of the 
 mouth, has been called Risorius, from its effect in laughing; 
 but the effect of this muscle, in giving a stringy appearance 
 to the skin of the neck, is particularly w^orthy ot notice; 
 as in rage, despair, and all the violent actions of the muscles 
 of the neck and jaw. (See the marginal plate of Horror.) 
 
 A strong muscle arises from the cheek bone, and the arched pro- 
 cess of the temporal bone, and is inserted into the lower jaw near its 
 angle. It is called the Masseter muscle ; it closes the teeth with 
 great strength, and, in rage, with gnashing of the teeth, it swells up 
 very strongly. The swelling of this muscle under the fibres r. only 
 is perceived. 
 
 R. The Temporal Muscle, being that which arises very broad upon 
 the side of the head, and passing down under the Zygoma, 
 JuGUM, or arch of the temporal and cheek bones, is inserted 
 into the lower jaw, and moves it with great strength in conjunc- 
 tion with the Masseter muscle. These two last muscles 
 simply close the jaws ; but there are others concealed in the 
 base of the skull (the Pterygoid Muscles), w^hich being 
 oblique in their direction, cause the lateral or grinding motion. 
 
( 
 
 '///'///// 
 
 / 
 
 ^/// /' 
 
 vr 
 
 » / f/f. / r//-: ^ 
 
 ///^ 
 
 ■ > ^</^v. 
 
 FIntr 7/// 
 
 X 
 
 ^1 
 
 ^«r. 
 
 
 l,mdm:Biblulud tryZnynan (CdJutu 'IiJ806' 
 
EXPLANATION 
 
 OF 
 
 PLATE III. 
 
 This is to be considered as an additional plan and outline, in which 
 some deep muscles are presented, which cannot be seen in 
 Plate 11. 
 
 A. Levator Labii Superioris Al^que Nasi. 
 
 B. Constrictor Nasi. 
 
 c. Levator Anguli Oris. 
 
 D. This is a little muscle, which was but imperfectly seen in the 
 former view; viz. Depressor Al^ Nasi: it is the direct oppo- 
 nent of A. : it pulls down the nostril, and produces a particular 
 effect in swelling the lip at this part. 
 
68 
 
 E. Marks a slip of fibres belonging to the Orbicularis Oris, 
 
 which runs up towards the nose. It pulls down the nose some- 
 what. It is called Nasalis Labii Superioris. 
 
 The muscles a. b. c. d. e. give the variety of motion to the nostril. 
 How much the nostril is expressive of emotion is known from vulgar 
 expression, as well as from the Poets*. 
 
 F. Triangularis Oris. 
 
 G. Buccinator. 
 H. Masseter. 
 
 I. Levator Menti. This muscle has a very curious effect in 
 raising the lower lip. It is the proper raiser of the lower lip. Ele- 
 vator Labii Inferioris Proprius ; because, raising the firm 
 integuments of the chin, it produces and elevates the lip, so 
 as to be called Superbus. 
 
 I have here represented its action, but it will be obsened that it 
 seldom acts singly ; for while the lower lip is protruded with peculiar 
 meaning over the upper one, the Triangularis Oris, f. at 
 
 * " Rides, ait, et nimis uncis 
 
 Pers. Sat. 1 . 
 
 " Naribus indulses." — 
 
 Minus aptus acutis naribus, &c. 
 
 Emunctae naiis, &c. 
 
69 
 
 the same time draws down the angle of the mouth, while fre- 
 quently the nostril is raised by the action of the muscle a. 
 
 t 
 
 
 
EXPLANATION 
 
 OF 
 
 PLATE IV. 
 
 OF THE MUSCLES OF THE FACE OF ANIMALS. 
 
 The head of a dog dissected, to shew the muscular apparatus in the 
 Carnivorous Animal. 
 
 A. A. The circular fibres which surround the eyehds, and which 
 are common to all animals. 
 B, c. D. Accessary muscles, which I have called Scintillantes, as 
 they draw back the eyelids upon the eyeball, and give a 
 sparkling fierceness to the eye. 
 
 Artists bestow an expression on the eye of the lion, which 
 they suppose gives dignity — a kind of knitting of the eyebrows, 
 whilst the eyelids are straining wide — this is quite incompatible with 
 the powers of expression in brutes. When the lion closes th€ eyes 
 
72 
 
 in repose, the strength of the muscles of the eyehds produces an 
 effect similar to the morose human expression, but when he is ex- 
 cited, and the eye strains wide, there is no such character. 
 
 F. G. H. Muscles of the Ear. These cover the strong muscles 
 of the jaw, and this circumstance explains why these muscles 
 have no proper origin. The under layer of muscles prevents 
 the possibility of these upper muscles being attached to the 
 bone, and they have no other point of origin than in the general 
 expansion formed by the union of their own fibres with each 
 other. There is in all animals a wonderful provision in the nu- 
 merous muscles of the ear, for its exertion and tension to receive 
 the vibrations of sound, and for the direction of the ear. We 
 have already observed, that the web of muscular fibres, which is 
 expanded on the forehead in man, is reflected off fi-om the skull 
 to the ear in the lower animals ; an example of which we have 
 here. 
 
 I. K. The mass of muscular fibres, which is always the strongest in 
 this class of animals, and which, with those lying under this 
 outer layer, I call Ringentes, as being the cause of the 
 peculiar and characteristic expression in the Carnivorous 
 Animal. 
 
 L. The muscle moving the nostril in smelling. 
 
 M. The circular fibres of the mouth, which yet do not make a per- 
 fect Orbicular Muscle. 
 
 N. A muscle which answers to the Zygomaticus in man, and which 
 
Lmdon Bihiished hLonfman (ci^Jitm 9^J80S 
 
73 
 
 in this animal must have great power, as it reaches from the ear 
 to the angle of the mouth. It must retract the angle of the 
 mouth, as well as act in mastication, which is probably the 
 reason of its being stronger than in the graminivorous 
 animals. 
 o. The Cutaneous Muscle, which sends up a web of fibres from 
 the neck upon the side of the face. These fibres are much 
 stronger than in man. 
 
74 
 
 I have just observed that painters have given to the heads of lions 
 an expression which we cannot perceive in nature. Rubens, in his 
 picture of Daniel in the Lions' Den, has given human expression to 
 the heads of the lions. Notwithstanding this, it appears to me still 
 a matter of some doubt, whether the mingling of human expression 
 with the features of savage animals, is in the true spirit of that prin- 
 ciple of association which should govern the adaptation of expression 
 and character, so as to produce an ideal form. 
 
 However this may be, there seems to me a distinction to be 
 preserved when the lion is to be presented in his natural state, and 
 where emblematical. Represented in his den, or in the forest, the 
 picture should be as a portrait, in which the natural character and 
 features are preserved ; but where he is couched amid the insignia of 
 empire, the natural character may perhaps be tempered with 
 somewhat of human expression. 
 
 I have placed at the head of this section, the head of a horse from 
 the picture of the battle of Constantine, by Julio Romano; I wish 
 that it should now be compared Avith the engraving in plate V. 
 from our much admired Northcote. We see at once that this of Julio 
 Romano is an ideal head; we say that it is a horse, rather because 
 there is a bridle in the mouth, than because we recognize the natural 
 character of that animal. Instead of the full clear eye standing 
 prominent on the temple, we see an eye sunk deep, with an over- 
 hanging eyebrow, the character entirely human, and the expression 
 
"75 
 
 thoughtflil and suspicious. In the hair of the forehead, and ni the 
 ears, we have more of the character of the bull, than of the horse ; and 
 in the roundness of the whole head also, and in the form of the neck, 
 the artist has preferred the model of the antique, to what in this 
 instance we may surely consider as the finer forms of nature; we have 
 here the nostril of the horse, but it wants expansion; and what is 
 most monstrous of all, thick and fleshy lips are given, and an open 
 mouth, which no power of association can ever teach us to admire. 
 
 There is a spirit and fire, and a kind of intelligence, in the horse's 
 head ; there is a beauty in the form of the neck, and an ease and 
 grandeur in the carriage of the head, Avhen a fine horse is untram- 
 melled and free, which, I am afraid, cannot be excelled by the sub- 
 stitution of an ideal form. 
 
 The evident intention, however, of the painter, in this instance, is 
 not to be neglected ; he wished to avoid that commonness of form 
 which represses the elevation of sentiment in the beholder, and 
 destroys the poetical effect of the picture. 
 
 The Essay which follows will point out the distinctions of 
 expression in the face of men and of animals ; a subject which I 
 think demands the artist's attention before he deviates from 
 natural character, for I must observe again, that the ideal beauty is 
 not to be attained without preserving some principle of associa- 
 tion. 
 
Mi< 
 
 /.^Mi-r, flMaMhL:ny"um br:.7u«t^1J806. 
 
 iS£^ 
 
EXPLANATION 
 
 PLATE V. 
 
 Fig. 2. Exhibits the muscles of the Horse's Head. 
 
 A. A. The Orbicular Muscle of the Eyelids. 
 
 B. An Accessory Muscle to raise the eyehd. 
 
 c. A very peculiar Muscle, since it pulls down the eyelid. 
 
 D. A Muscle connected also with the eye, and arising from the 
 
 cartilages of the ear. 
 
 E. A Muscle answering to the Zygomatic Muscle in man. 
 
 These muscles, surrounding the eyelids of the horse, sufficiently 
 account for the superior expression of his eye. The muscle d. seems 
 to be calculated to operate upon the outer angle of the eye, and 
 
78 
 
 enable the creature to direct the eye backward. In this it is proba- 
 bly assisted by the muscle e. 
 
 F. This forms a class of muscles which descend on the side of the 
 
 face, and are inserted into the nostril. 
 
 G. G. Muscular Fibres also operating in the distention of the tube 
 
 of the nostril. 
 H. A STRONG Muscle operating upon the cartilage, and inflating 
 the nostril with great power. 
 
 We cannot fail to observe the difference in the oeneral direction 
 
 &" 
 
 and classing of the muscles of the face here and in the first figure. 
 In the latter, they all tend to lift the lips from the canine teeth, here 
 they pass to the nose and inflate it with great power: And this 
 circumstance, more than any other, marks the different character 
 and expression of the two classes of animals, the Carnivorous, and 
 Graminivorous. 
 
 I. The STRONG Muscle of the right side, which lying under f. sends 
 its tendon down upon the side of the nose, and then forms with 
 that of the other side the broad tendon k. which is inserted 
 into the upper lip. 
 
79 
 
 There is a muscle on the lower jaw similar to this, hut which 
 cannot he seen in this view. 
 
 L. M. The CIRCULAR Fibres of the Lips, which in the horse are 
 
 particularly strong and fleshy. 
 N. A Web of Muscle reaching up from the cutaneous Muscle of 
 
 the neck. 
 
 These muscles, i. k. l. m. have all of them great power, and give 
 very extensive motion to the lips. k. is the tendon of the muscles-' 
 of the upper lip, which I have called, Depascentes, and it takes 
 this course over the nose to operate upon the fore part of the lips, 
 and raise them fi'om the Incisores. 
 
 I have placed on this plate a very beautiful head of a horse, 
 engraved from a sketch by Mr. Northcote, in order that it may be 
 compared with the dissected head: at the same time, as it possesses 
 a fine natural character, it may be contrasted with the marginal 
 plate. 
 
ESSAY V. 
 
 M 
 
ESSAY V. 
 
 OF THE EXPRESSION OF PASSION, AS ILLUSTRATED BY A COMPARISON OF THE 
 MUSCLES OF THE FACE IN MAN AND IN ANIMALS, AND OF THE MUSCLES PECU- 
 LUR TP AUN, AND THEIR EFFECTS IN BESTOWING HUMAN EXPRESSION. 
 
 In prosecuting enquiiy concerning the principles of expression 
 in painting, I encountered some unexpected difficulties while 
 attempting to explain the peculiar expression of madness and 
 fatuity. This naturally led me into a comparison of the muscles of 
 the face in man, with those of other animals ; and although I have 
 not so confirmed or digested my observations on madness and 
 fatuity, that I can venture to lay the result before my reader, the 
 incidental enquiry, which has thus been suggested, has furnished me 
 with some facts which seem to be curious, and some inferences which 
 may not be uninteresting, as connected at once with natural 
 
84 
 
 history, with the principles of the fine arts, and with the philosophy 
 of mind. 
 
 The violent passions mark themselves so distinctly on the counte- 
 nance, both of man, and of animals, that AVe are apt in the first 
 instance to consider the movements by which they are indicated, as 
 certain signs or characters provided by nature for the express 
 purpose of intimating the internal emotion ; and to suppose that they 
 are interpreted by the observer in consequence of a peculiar 
 and instinctive faculty. This view of things, however, so natural at 
 first sight, is not altogether satisfactory to philosophy; and a more 
 jealous observation of the facts seems to suggest an opposite 
 theory, in which instinctive agency is rejected, and the appearances 
 are explained from a consideration of the necessities and voluntary 
 exertions of the animal. With regard to the observer, it has been as- 
 serted, that it is by experience alone that he distinguishes the signs of 
 the passions; that we learn, while infants, to consider smiles as ex 
 pressions of kindness, because they are accompanied by acts of bene- 
 ficence, and by endearments; and frowns as the contrary, because 
 we find them followed by blows; that the expression of anger in a 
 brute is only that which has been observed to precede his biting, and 
 that of fondness, his fawning and licking of the hand. With regard 
 to the creature itselfj it is said, what have been called the external 
 signs of passion are merely the concomitants of those volun- 
 tary movements, which the passion or habits suggest ; that the glare 
 of the lion's eye, for example, is the consequence of a volun- 
 
85 
 
 tary exertion to see his prey more clearly — his grin or snarl, the 
 natural motion of uncasing his fangs before he uses them. This, 
 however, is not quite true of all animals, and all expressions of 
 passion. 
 
 Attending merely to the evidence furnished b}?^ anatomical investi- 
 gation, all that I shall venture to affirm is this, that a remarkable 
 difference is to be found between the anatomy and range of expres- 
 sion in man and in animals: That in the former, there seems to be a 
 systematic provision for that mode of communication and that na- 
 tural language, which is to be read in the changes of the countenance; 
 that there is no emotion in the mind of man which has not its appro- 
 priate signs; and that there are even muscles in the human face, to 
 which no other use can be assigned, than to serve as the organs of 
 this language : That on the other hand there is in the lower animals 
 no range of expression which is not fairly referable as a mere 
 accessory to the voluntary or needful actions of the animal; and 
 that this accessory expression does not appear to be in any degree 
 commensurate to the variety and extent of the animal's passions. 
 
 There appears to me to be no expression in the face of any animal 
 lower in the scale of being than quadrupeds; and in them the 
 strongest and most marked expression is that of rage; the object of 
 which is opposition, resistance, and defence. But on examination it 
 
86 
 
 will be found (consistently with the position, that this is merelj'^ an 
 accessory of the motions natural to the accomplishment of the object 
 which the animal has in view) that the strength of the expression is 
 in exact proportion to the strength of the principal action in the 
 creature when thus excited. 
 
 The graminivorous animals, which seek their subsistence not by 
 preying upon others, nor by the ferocitj^ contest, and victory which 
 supply the carnivorous with food, have in their features no strong ex- 
 pression of rage. Their expression is chiefly confined indeed to the 
 effect produced on the general system. Thus the inflamed eye 
 and the breathing nostrils of the bull are induced only by the general 
 excitement. His only proper expression of rage is in the position of 
 the head, with the horns turned obliquely to the ground, ready to 
 strike; and indeed it may be observed in general, that animals which 
 strike with the horns show little indication either of fear or rage, 
 except in the position of the head. In all graminivorous animals, 
 the skin of the head is closely attached to the skull, and capable 
 only of very limited motion : the eye is almost uniformly mild, and 
 the lips unmoved by passion. 
 
 It is in carnivorous animals, with whose habits and manner of life 
 ferocity is instinctively connected, as the great means of their 
 subsistence, that rage is distinguished by the most remarkable 
 strength of expression. The eyeball is terrible, and the retraction 
 of the flesh of the lips indicates the most savage fury. But the first 
 is merely the excited attention of the animal; and the other a pre- 
 
87 
 
 paratory exposure of the canine teeth. The great animals of prey, 
 the lion and the tiger, are quite incapable of any other expression 
 of feature, than this particular display of ferociousness. When they 
 fawn upon their keeper, there is no motion in their features that in- 
 dicates affection. 
 
 6f all the animals with whose habits we are acquainted, the 
 elephant seems to approach the most nearly to the sagacity of man, 
 and to feel more of the keen attachments and vindictive resent- 
 ments which distinguish our race. But in the immoveable mask of 
 this creature, there is no expression of peculiar feelings, no 
 consent of feature, no symptom of anger or movement of 
 fondness. 
 
 The horse is universally considered as a noble animal, as he 
 possesses the expression of courage without the ferociousness of the 
 beast of prey; and as there is expression in his eye and nostril, 
 accompanied by that consent betwixt the motions of the ear and the 
 eye, which so much resembles the exertion of mind, and the move- 
 ments of the human countenance. But even this more perfect 
 expression is merely the result of an incidental consent of animal 
 motions, and is not a proof of peculiar intelligence any more 
 than the diminutive eye and unexpressive face of the elephant. 
 The motion of the eye and ear of the horse are physical 
 consequences of the necessities of the animal. His defence lies in 
 the hind feet, and there is a peculiar provision both in the form of 
 
88 
 
 the skull, and in the muscles, for that retroverted direction of the 
 eye, which seems so peculiarly expressive in the horse, but which is 
 merely intended to guide the blow: And from the connection of 
 muscles, the ear must consent in its motion with this expression of 
 the eye. Again, the fleshiness of the lips, and of the nostril of a 
 horse, and the inflation of the nostril, are merely incidental 
 to the peculiar provisions for the animal's respiration, and to 
 the necessary motions of the lips, suited to the habits of his 
 hfe. 
 
 In man we not only see united all the capacities for expression, 
 and all the incidental and necessarj'^ effects of the several motions of 
 features, which are to be found in the several classes of quadrupeds, 
 but we fmd besides, several peculiar muscles, to which no other 
 office can be assigned, than to act as organs of expression ; to serve 
 as instruments of that universal language which has been called 
 instinctive, which at least produces something like the eflfect of 
 innate sympathy, and seems to be independent of experience or 
 arbitrary custom. 
 
 It is, in short, of man alone that we can with strict propriety saj'", 
 the countenance is an index of the mind, having expression corre- 
 sponding with each emotion of the soul. Other animals have no ex- 
 pression but that which arises by mere accident, the concomitant of 
 the motions necessary to the accomplishment of the object of the 
 passions. 
 
89 
 
 Were my enquiries directed to the philosophy of this subject, 
 this is perhaps the conclusion in which I should be inclined to 
 acquiesce; but without presuming to settle that question finally, 
 I have to remark, as relative to painting, my original subject of 
 enquiry, that this remarkable difference between the expression in 
 man and animals, naturally leads us to investigate what are the pecu- 
 liarities of mere animal expression ? how far they are distinguishable 
 in the human countenance ? and what are the traits of expression 
 peculiarly characteristic of human emotion ? This is what I propose 
 as the subject of this Essay. 
 
 OF THE MUSCLES OF ANIMALS MORE PARTICULARLY. 
 
 In order to see distinctly what the peculiarities of mere animal 
 expression are, it seems proper to reduce the muscles of expression 
 in animals to their proper classes. These muscles, as they appear in 
 the several quadrupeds, may be distinguished into, 1. Those which 
 raise the lips from the teeth; 2. Those which surround the eyelids; 
 and 3. Those which move the nostril. 
 
 1 . The first of these classes, viz. the muscles which raise the lips 
 from the teeth, admit of a subdivision. In the carnivorous animal the 
 muscles of the lips are so directed as to raise the lip from the canine 
 teeth. In the graminivorous they are so directed as to raise the 
 
 N 
 
90 
 
 lips from the Incisores. The former I would take the liberty 
 of distinguishing by the name of Ringentes, snarling muscles ; the 
 latter by the name of Depascentes. 
 
 The snarling muscles take their origin from the margin of the 
 orbit of the eye, and form the upper jaw, and are inserted into that 
 part of the upper lip from which the whiskers grow, and Avhich is 
 opposite to the canine teeth. Their sole office is to raise the upper 
 lip from the canine teeth, and although they are assisted in this office 
 by other muscles, (the masticating and zygomatic muscles) I have 
 ventured to distinguish them particularly as the muscles of snarling. 
 This action of snarling is quite peculiar to the ferocious and car- 
 nivorous animals. The graminivorous are incapable of it, and these 
 muscles consequently are to be found only in the former class, not in 
 the latter. In the carnivorous animals there is no perfect or regular 
 orbicular muscle, as in man, for contracting the lips. The lips hang 
 loose and relaxed, unless when drawn aside by the snarling muscles, 
 and the)'^ fall back into this state of relaxation, Avith the remission of 
 the action of these muscles. 
 
 The muscles of the lips, which in carnivorous animals are directed 
 to the side of the mouth, are in graminivorous animals directed to the 
 middle of the lip over the Incisores. I have given to these the name 
 of Depascentes from their use and destination in enabling the 
 animal to open its lips, so as to gather its food, and to bite the grass. 
 They are long muscles ; one set comes down upon the side of the 
 
91 
 
 face, and joining in a broad tendon, passes over the nose to be 
 inserted into the upper Hp. Another set runs along the lower jaw, 
 and is inserted by a peculiar feathered tendon into the under lip. 
 The horse has these muscles very strong. In the stallion they give 
 a ver}'^ characteristic and peculiar expression, when he snuffs the 
 breeze, with his head high in air. When he bites, the expression is 
 entirely different from that of the carnivorous animal. Instead of 
 exposing the teeth, corresponding Avith the canine, he lifts the lips 
 from the fore teeth, and protrudes them. These muscles of the fore 
 part of the lip, the carnivorous animals have not. In them the lips 
 over the Incisores are not fleshy like those of the graminivorous 
 animals, but they are tied down to the gums, and the fore teeth are 
 uncovered only in consequence of the straining occasioned by re- 
 traction of the side of the mouth. 
 
 Although the graminivorous animals have not those muscles of the 
 lips, which so powerfully draw back the lips in the carnivorous ; 
 they have what the carnivorous animal does not require, an orbicular 
 muscle surrounding the mouth, and regulating the motion of their 
 fleshy lips. 
 
 2, Muscles which surround the eyelid. In man, the upper eyelid 
 is raised by a muscle coming from the bottom of the orbit. But 
 besides this muscle, animals of prey, in Avhom there is that peculiar 
 and ferocious splendour of the eye, which we distinguish in the tiger, 
 for example, or the lion, have three muscles infixed in the eyelids. 
 
02 
 
 which drawing the eyelids backward upon the pecuHarly prominent 
 eyeball, produce the fixed straining of the eye, and by stretching the 
 coats, give a greater brilliancy to the reflection. These muscles may 
 be classed under the term Scintill antes. In the sheep, there is 
 only a web of fibres to raise the eyelid. In the horse, there is a 
 muscle to pull down the lower eyelid, and one passing from the ear 
 to the outer angle of the eyelid to retract it, and enable the animal 
 to direct the pupil backward where his defence lies. 
 
 3. The muscles of the nostril are not less distinct and peculiar in 
 different classes of animals, than those of the eye and lips. In the car- 
 nivorous animals the nose is comparatively insignificant, provision 
 being made in the open mouth for any occasional increase of 
 respiration above the uniform play of the lungs; while in the 
 inoffensive animals, the prey of the more ferocious, the inflation 
 of the nostril is provided for by the action of a peculiar set of 
 muscles. 
 
 For example, in the horse " the glory of whose nostrils is terrible," 
 the muscles which inflate the nostril are very peculiar. They arise 
 like the Ringentes of the carnivorous animals; but instead of being 
 fixed into the lips, as in carnivorous animals whose lips are to be 
 raised from the canine teeth, they pass to the nostrils, and in combi- 
 nation with some lesser muscles powerfully inflate them when the 
 animal is pushed to his speed, or excited by fear, or inflamed to rage. 
 In the sheep, though the nostril seems to have a very limited power 
 
93 
 
 of expansion, and the animal is soon run down, yet the muscles of 
 the nostril are particularly strong compared with those of a dog, wliich 
 has only a small muscle for those quick motions of the nostril, which 
 we may observe Avhile the animal is smelling. In the fear and 
 panting of a sheep, the motion of the nostril is perhaps the only trait 
 of expression. 
 
 OF THE MUSCLES OF THE FACE IN MAN, 
 
 When we turn our attention to the muscles of the human counte- 
 nance, we perceive, that while the motion of the lips, and nostrils, 
 have not the same extensive range as in the several classes of 
 animals, there is combined in the face of man a capacity for all the 
 variety of expressions which distinguish the several kinds, of whose 
 nature he partakes. He stands, as it were between the carnivorous 
 and graminivorous animals, or rather it were more correct to say, 
 that he partakes of the nature of both. He has the snarling muscles 
 which we have observed so peculiarly to distinguish the carnivorous 
 animals, while he is able to protrude the lips, and uncover the 
 Incisores. In the carnivorous animals we have seen, that while the 
 muscles that descend from the bones of the cheek and upper jaw 
 to raise the lips are very strong, the orbicular, or circular fibres-of the 
 lips are very imperfect, the lip being tied down at the fore part to 
 
94 
 
 the gums. And that in the graminivorous animals on the contrary, 
 the orbicular muscle is nearly perfect, while the elevating and 
 depressing muscles of the side of the mouth are deficient. But in 
 man, both those classes of muscles are combined; the elevating and 
 depressing muscles are perfect, while the orbicular muscle completely 
 antagonizes them, modulating and qualifying these actions, and be- 
 stowing the utmost perfection on the motion of the lips. The 
 effect of this in laughter, smiling, and weeping, shall be afterwards 
 noticed. 
 
 But besides the muscles analogous to those of brutes, there is an 
 intertexture of muscles in the human countenance, which evinces a 
 provision for expression quite independent of the original destination 
 of those muscles that are common to him and animals. There are 
 muscles not only peculiar to the human countenance, but which act 
 where it is impossible to conceive any other object for their exertion 
 than that of expressing feeling and sentiment. These muscles indi- 
 cate emotions, and 83^x1 pathies, of which the lower animals are not 
 susceptible, and as they are peculiar to the human face, they may 
 be considered as the index of mental energy in opposition to mere 
 animal expression. 
 
 The parts of the human face the most moveable and the most 
 expressive, are the inner extremity of the eyebrow, and the angle of 
 the mouth, and these are precisely the parts of the face which in 
 brutes have least expi'ession ; for the brutes have no eyebrows, and 
 
95 
 
 no power of elevating or depressing the angle of the mouth. 
 It is in these featuress therefore that we should expect to find 
 the muscles of expression peculiar to man. 
 
 1 . The most remarkable of the muscles peculiarly human, is the 
 corrugator supercilii. It arises from the frontal bone, near the union, 
 with the nasal bones, and is inserted into the skin of the eyebrow. 
 It knits the eyebrows with a peculiar and energetic meaning, which 
 unaccountably, but irresistibly, conveys the idea of mind and senti- 
 ment. 
 
 The anterior portion of the occipito-frontalis muscle is the anta- 
 gonist of the orbicular muscle of the eyelid. It is wanting in the 
 animals we have already examined, and in its stead, fibres more or 
 less strong are found to be directly inserted into the eyelids*. 
 
 The motion of the features, which, next to that produced by the 
 corrugator supercilii, is the most peculiarly expressive of human sen- 
 sibility and passion, is at the angle of the mouth; and at one time I 
 had conceived, that the muscle which is called the superbus, and 
 which elevates and protrudes the under lip, was peculiar to man; 
 but I was deceived. The peculiarity of human expression is in the 
 triangularis oris, or depressor anguli oris, a muscle which I have not 
 found in any other animal; which I believe to be peculiar to the 
 
 * The expanded muscle of the skull in brutes is reflected off to the ear. 
 
96 
 
 human face, and for which I have been able to assign no other use 
 than belongs to an organ of expression. It arises from the base of 
 the lower jaw, and passes up to be inserted with the converging fibres 
 of almost all the muscles of the side of the face at the corner of the 
 mouth. It produces that arching of the lip so expressive of con- 
 tempt, hatred, jealousy ; and in combination with the elevator of 
 the under lip, and the orbicularis, it has a larger share than any other 
 muscle in the infinite variety of motion in the mouth, expressive of 
 sentiment. 
 
 When we compare the dissected muscles of the human head, with 
 those of animals, we may perceive many smaller distinctions, into a 
 detail of which I shall not at present enter. The Depressor Al^ 
 Nasi ; the Nasalis Labii Superiores ; the descending fibres of 
 the Occipito-Frontalis, are not in the brute; and in general the 
 more minute and fasciculated structure of all the muscles of the lips, 
 in the face of man, indicates a decided superiority in the provision 
 for the motion of the features. 
 
 effects of the muscles of expression in man and animals. 
 
 We have already taken occasion to observe, that the chief expres- 
 sion of which the faces of animals seem capable, are those of rage and 
 
97 
 
 of fear. Even pain is very obscurely indicated, except in the voice, 
 and in the writhing and struggling of the body. 
 
 Rage is expressed most strongly by the carnivorous animals : in 
 them it is wild and ferocious and terrifying. In the milder class 
 of animals the chief expression is such as may be called Tonic; 
 the effect of the excited state of the body. The rage of the carnivo- 
 rous animal, so far as it appears in the expression of the face, is found 
 in the strong action of the Ringentes or snarling muscles, the expo- 
 sure of the canine teeth, the gnashing of the tusks, and the brilliant 
 state of excitement of the eye. The rage of the graminivorous 
 is chiefly to be found in the eye, and in the inflation of the nostril. 
 The expression of human rage participates of both these; the cor- 
 responding muscles of the lips and nostril, producing a similar action 
 with that of animals; an exposure and gnashing of the teeth; a 
 degree of sparkling of the eye, and an inflation of the nostril. And 
 of a face under the influence of such action, a spectator would 
 infallibly say, that the aspect is perfectly brutal, savage, and 
 cruel. But when the Corrugator Supercilii, a muscle peculiar to 
 human expression, is brought into action, the sign is altered. The 
 eyebrows are knit, the energy of mind is apparent, and the 
 mingling of human thought and emotion with the savage and 
 brutal rage of the mere animal. 
 
 In man, the action of the frontal muscle, and Corrugator Supercilii, 
 and of the orbicular muscle of the mouth, bestows a greater latitude 
 
98 
 
 of expression: and if in addition to the action of these muscles, 
 instead of the wide drawn hps, and the exposure of the teeth, as in 
 the rage or bodily pain of animals, the mouth is half closed; the lips 
 inflated by the action of the circular fibres, and drawn down by the 
 action of the peculiarly human muscle, the depressor anguli oris, 
 there is then more of agony of mind than of mere bodily suffering; a 
 combination of muscular actions of which animals are incapable. 
 
 The action of the orbicular muscle of the lips is indeed as charac- 
 teristic, perhaps, as any of agony of mind, and of all those passions 
 which partake of sentiment. In grief, in vexation of spirit, in 
 weeping, it modifies the action of the muscles of animal expression 
 into human character. 
 
 Fear seems to be characterised in animals chiefly by a tonic effect 
 on the body; by something like a mingling of anger, and a prepara- 
 tion for defence, with the shrinking of alarm in the more ferocious 
 animals; and a straining of the eye and inflated nostril, with 
 trembling in the milder. In human fear and suspicion, the nostril is 
 inflated, and the eye has that backward, jealous, and timid 
 character which we fmd in the horse, and in all the class of milder 
 animals. 
 
 The orbicular muscle of the lips wdth the complete system 
 of elevating and depressing muscles which is found in man, lead to 
 expressions peculiarly human. And here I may observe, that expres- 
 
99 
 
 sion is not always the effect of an universal tension of the muscles 
 of the face, nor directly of the action of individual muscles. It 
 sometimes is the effect of mere relaxation ; and of this smiling and 
 laughter furnish the most apposite examples. The capacity of re- 
 ceiving ludicrous ideas is as completely denied to animals as they are 
 utterly incapable of the accompanying action of laughter. Dogs, 
 in their expression of fondness, have a slight eversion of the lips, 
 and grin and snuff amidst their frolic and fond gambols, in a way 
 nearly resembling laughter ; but there is truly nothing in all this 
 which approaches to human expression. That expression is pro- 
 duced by the relaxation of the orbicular muscle of the lips, and the 
 consequent preponderance of the elevating muscles; and of course 
 the expression of laughter can exist only in a face Avhich possesses 
 both the orbicular and the straight muscles of the lips in perfection. 
 
 In laughter the cheek is raised, and there seems to be an 
 action of muscles similar to that of weeping and mere bodily pain, 
 but the character of the cheek and lips is quite different. This 
 arises from a difference in the state of the orbicular muscle. In 
 smiling the orbicular muscle is merely relaxed, whereas, in anger 
 and pain it is forcibly drawn by the other muscles. It is in this re- 
 laxation, and in the necessary preponderance of the antagonist 
 muscles, more than in the action of the zigomatic and elevator 
 muscles, that the expression of smiling is to be found, and the cheer- 
 ful fullness of the cheek. In violent laughter there is a further 
 
100 
 
 excitement of the elevating muscles of the cheek, with a greater 
 degree of relaxation of the lips. 
 
 In the human emotions of contempt, pride, suspicion, and 
 jealousy, the orbicular muscle of the lips, and most particularly the 
 Triangularis oris, produce by their combination the arching of the 
 lips; the depression of the angle of the mouth; the bitter horizontal 
 drawing of the lips which just discloses the teeth, and betrays the 
 several malignant passions. 
 
 In grief, the muscles of the eyebrow and those of the lips are com- 
 bined in expression ; hence the combination of that upward inversion 
 of the eyebrow which characterises peevishness, discontent, and 
 sinking of the spirits, with the depression of the angle of the mouth, 
 so distinctly indicative of the harassed and subdued state of the 
 mind. 
 
 By the combination of those grosser features of expression, many 
 of the lesser traits, and much of that various play of the features most 
 expressiveof human passions are produced in joy, hope, admiration, 
 anxiet}^, fear, horror, despair; and thus while the human countenance 
 is capable both of the rage of the more ferocious animals, and of the 
 timid expression of the milder, it possesses powers of expression 
 almost to infinity, by the combined action of a few superadded 
 and peculiar muscles. 
 
101 
 
 It is curious thus to observe how the muscles, by producing 
 distinct expression, afford a new occasion of distinguishing the 
 tribes of animals: and, as signs of superior intelligence, become 
 proofs of the higher endowments of man, and a demonstration of the 
 peculiar frame and excellence of his nature. 
 
 As the enquiry in which I have been engaged has reference to 
 painting, and the representation of emotion, I may be allowed, while 
 thus considering the peculiarities of human expression, to add, that 
 the imposing effect of a fine head in painting, and in sculpture, 
 depends upon the artist preserving the perfection of human 
 character. 
 
 The expression of the whole head, and of the individual features, 
 must be strictly and peculiarly human to be grand or imposing. And 
 although the form of the brute-head is often highly beautiful, yet 
 when transferred to the human, it is found incongruous and incom- 
 patible; it produces unpleasing associations, and degrades the cha- 
 racter as inconsistent with the expressions of that intellect which must 
 always form part of the idea communicated by human physiognomy. 
 So it is also with individual features. Wherever the imagination 
 catches an idea of brutal character in the eye, nose, lips, teeth, or 
 ears, the form by reminding us of animal expression, is found to be 
 incompatible with human beauty. 
 
 The character of the human head has reference chiefly to the 
 structure of the bones; a subject which is already treated of 
 
102 
 
 in a former essay. But there is at least one part of the 
 character of human beauty, of which it is not out of place here 
 to take notice, namely, that which is founded on the capacity for 
 expression. 
 
 This capacity of expression, this indication of a mind susceptible 
 of great, or of tender emotions, has a great share in human beauty; 
 whether in the living countenance, or in that Avhich the pencil 
 presents. How different the tame regularity of a merely placid 
 countenance, from what strikes the spectator when he beholds the 
 indications of a great mind in that susceptibilitj'^ of emotion and 
 energy, which marks the brow, and animates the eye of the hero even 
 in the calmest scenes of life. How fascinating when compared with 
 the insipid prettiness and regular features of an inanimate beauty is 
 that susceptibility which lightens up the countenance and plays upon 
 the features of a woman of sensibility, even while she is unmoved 
 by any particular affection. 
 
 The full clear eye; the arched and moveable eyebrow; the 
 smooth and polished forehead; as indicating this kind ofca])acity, 
 this susceptibility of emotion, and power of expression, are grand 
 features of human character and beauty. And the perfection of 
 their beauty is found whenever the spectator is made sensible of this 
 inherent, this latent power of expression, while no prevailing passion 
 gives a cast to the features. But a great portion of tlie beauty of 
 the human face is in the nose and mouth ; in a nostril which has the 
 full capacity for expression, without being too membraneous and in- 
 
103 
 
 flatable, for that produces a mean and imbecile kind of fierceness; 
 and in lips at once fleshy and apparently mobile and capable of that 
 various modulation of form which characterises human emotion. 
 
 If I could flatter myself that in this attempt to point out the 
 muscles upon which the peculiar power of human expression 
 depends, I had in any degree succeeded; or that any advances had 
 thus been made towards a scientific principle in the art of represent- 
 ing the character of the passions, I should still be aware how little 
 the painter can be assisted by any speculative enquiry, or theory of 
 his art; and that painting never can, more than her sister poetry, be 
 brought to excellence Avithout the cultivation of the susceptibilities 
 of the mind. 
 
ESSAY VI. 
 
r 
 
 '■<• Pajffl24. 
 
ESSAY VI. 
 
 IDEA OP A LEADINii PRINCIPLE IN THE EXPRESSION OP EMOTION— OF THE ACTION OF 
 THE MUSCLES OF THE FACE AS EXPRESSIVE OF PASSION. 
 
 It has often been observed that there is in the features of an impas- 
 sioned countenance, a consent and accordance of expression. It is not 
 upon a single feature that the emotion operates, but the whole face is 
 marked with expression, all the movements of which are consenta- 
 neous. This is referable to some cause operating generally on the 
 tone and state of the frame, the particular expression of individual 
 emotion being distinguished by the action and determination of 
 particular features. 
 
108 
 
 Taking indifference as the line of distinction between the two great 
 classes of pain and pleasure, the class of sensations above this hne are 
 weak compared with those below. The simple sensations of pleasure, 
 before they are heightened and diversified by the multiplied associa- 
 tions of mental affection, are soft and gentle in their nature. The 
 class of painful sensations is very different in character : they are 
 powerful and overwhelming ; they are meant as our guardians and 
 protectors against danger and death, and operate with resistless force. 
 The pleasurable sensations induce a languor and delight, and partake 
 of the quality of indulgence and relaxation; the painful excite to 
 the most violent tension, and make all the muscular frame start into 
 
 convulsive action. 
 
 'v 
 
 The emotions and passions of the soul, grounded originally on these 
 great classes of sensation, raised and increased by the mingling of 
 hopes and fears, and the combinations of analogous and associated 
 images of delight or of danger, take their great constitutional traits of 
 expression from the general tone of pleasure or of pain. 
 
 In pain, the body is exerted to violent tension, and all the emotions 
 and passions which are allied to pain, or have their origin and foun- 
 dation in painful sensations, have distinctly this character in common, 
 that there is tension, or a start into exertion or tremor, the effect 
 of universal and great excitement. It must at the same time 
 be recollected, that all the passions of this class, some more im- 
 
109 
 
 mediately, others more indirectly, produce a loss of tone, exhaustion, 
 and debility, from over exertion. 
 
 On the other hand, as pleasure is characterized by languor, soft 
 tranquillity, and relaxation from bodily exertion, all the emotions 
 related to it, or deducible from pleasurable sensations, are charac- 
 terized by the prevailing state of the system, by a degree of inaction, 
 and as it were forgetfulness of bodily exertion, and an indul- 
 gence in mental contemplation. The contemplation of beauty, 
 or the admiration of soft music, produces a sense of languor; 
 the body reclines, the lips are half opened, the eyes have a 
 softened lustre from the falling of the eyelids, the breathing 
 is slow, and from the absolute neglect of bodily sensation, and the 
 temporary interruption of respiration, there is a frequent low drawn 
 
 sigh. 
 
 To the distinction now suggested, an objection may occur from 
 the debility of fear, and the high exhilaration of joy. A more 
 particular examination, however, will confirm the argument by 
 these very illustrations. We shall have occasion to see, in con- 
 sidering the individual passions, that there is much variety in the 
 expression of fear; and that where the alarmed senses are accompani- 
 ed by a strong effort to comi)rehend the nature of the ai)proaching 
 dan^^er. there is relaxation, or weakness of the bodily frame. 
 Where there is dread of bodily pain and suffering, the body is 
 energetic and full of action ; while the distraction of doubt, the 
 effort to comprehend, and a sense of supernatural and resistless 
 
110 
 
 power, produce one of the most peculiar and characteristic states of 
 which the human frame is susceptible. 
 
 Joy is distinguishable from pleasure. It consists not so much in 
 the sense of gratification, as in the delight occasioned by the convic- 
 tion that the long expected pleasure is within our reach, and 
 by the lively review of the enjoyment which is now decked out and 
 adorned in its most favoured and alluring shape. A certain 
 sensation of want is mingled in the feeling of joy; a recollection of 
 the alternate hopes and fears which formerly distracted the mind, 
 as contrasted with the immediate assurance of gratification. 
 
 But laughter may also seem to be at variance with the leading 
 principles of my arrangement of the passions. Here also, however, 
 we find another confirmation of our leading principle. Is there 
 any tension or exertion when a smile plays upon the lips ? Quite 
 the contrary. Softness and languor spread over the countenance, 
 most especially when the smile is of admiration, of love, or of 
 benevolence. Even when the fancy is tickled by something in- 
 congruous and ridiculous, the violent laughter which follows 
 is nothing more than an involuntary and convulsive state of the 
 respiratory organs and muscles of the face, the effect of relaxation, 
 not of energetic action, and it proceeds sometimes to a debility of 
 the muscles, so universal that we can with difficulty keep 
 our feet. 
 
HI 
 
 Although I have attempted here to suggest a leading principle for 
 an arrangement of the passions, I do not now intend to follow any 
 very systematical order in the hints which I mean to throw out. 
 
 We have already had occasion to remark, that the expression 
 which is peculiarly human, affects chiefly the angle of the mouth 
 and the inner extremity of the eyehrow. And it is to these 
 points that we have chiefly to attend in all our observations con- 
 cerning the expression of passion. These are the most moveable 
 parts of the face : to these points the muscles are, as it were, 
 concentrated; and it is accordingly upon the changes which 
 they undergo, that expression is acknowledged chiefly to depend. 
 
 To demonstrate how important these points of the features 
 are, we have only to make that experiment which Peter of Cortona 
 made before Francis the First of France; to sketch a placid 
 countenance, and touch lightl}^ with the pencil the angle of the 
 lips and the inner extremity of the eyebrows. By elevating or 
 depressing these, we shall quickly convey the expression of grief 
 or of laughter. 
 
 These parts, however, and all the features of an impassioned 
 countenance, have an accordance with each other. When the 
 angles of the mouth are depressed in grief, the eyebrows are not 
 elevated at the outer angles, as in laughter. When a smile plaj^s 
 around the mouth, or the cheek is elevated in laughter, the brows 
 
112 
 
 are not raised as in grief". The characters of such opposite passions 
 are so distinct, that they cannot be combined where there is true 
 and genuine emotion. When we see them united by those who 
 have a ludicrous control over their muscles, the expression is 
 farcical and ridiculous. It never is by the affection of an individual 
 feature that emotion is truly expressed; there must be a consent and 
 accordance of expression in the whole countenance systematized 
 (if the expression be allowable) and united by the general tone of 
 tension or relaxation. 
 
115 
 
 I. 
 
 OF THE RELAXATION OF THE MUSCLES IN LANGUOR, FAINTNESS, 
 AND SORROW OF BODILY PAIN OF ANGUISH — AND OF DEATH. 
 
 1. Relaxation of languor, faintness, and sorrow. The 
 muscle which depresses the angles of the mouth (n. plate II.) is often 
 accompanied in its action by that of the corrugator muscle which 
 knits the e3rebroAvs, (b. plate II.) and this again is combined 
 frequenth' with the action of the central fibres of the frontal 
 muscle (a. Plate II.) 
 
 The depressing of the angle of the mouth gives an air of despondence 
 and languor to the countenance when accompanied with a general 
 relaxation of the features, or, in other words, of the muscles. AMien 
 the corrugator which knits the brows co-operates with it, there is 
 mingled in the expression something of mental energy ofmoroseness 
 or pain. If the frontal muscle joins its operation, an acute turn up- 
 wards is given to the inner part of the eyebrow, very different from 
 the effect of the general action of the frontal muscle, and decidedly 
 characteristic of an aguish debilitating pain, or of discontent, ac- 
 cording to the prevaihng cast of the rest of tlic countenance. 
 
 But a very limited observation will teach us, that while languor 
 and despondency are indicated by depression of the angle of the 
 mouth, the depression must be slight, not violent : for the depressor 
 
 Q. 
 
114 
 
 ANGULi ORIS (n.) caiiiiot act strongly without the combination 
 of a muscle, viz, the superbus (plate III.) which quickly produces a 
 revolution in the expression, and makes the nether lip pout con- 
 temptuously. 
 
 In sorrow, that general languor which we have now described 
 pervades the Avhole countenance. The violence and tension of 
 grief, the agitations, the restlessness, the lamentations, and the 
 tumult, have, like all strong excitements, gradually exhausted the 
 frame. Sadness and regret, with depression of spirits and fond 
 recollections, have succeeded; and lassitude of the whole body, 
 with dejection of face and heaviness of the eyes, are the most 
 striking characteristics. The lips are relaxed and the lower jaw 
 drops ; the upper eyelid falls down and half covers the pupil 
 of the eye. The eye is frequently filled with tears, and the 
 eyebrows take an inclination similar to that which the depression 
 of the angles of the lips give to the mouth*. 
 
 I am not quite sure that in the grief of Constance there is not an 
 unnatural mixture of the tumult and violence of grief with the 
 contemplative recollections of sorrow. Her impatience and tur- 
 bulence, which makes her tear her hair, defy aW counsel and redress, 
 
 * Some luive been so far deceived by the effect of this raising of the e3-cbrows 
 towards tlie centre of the forehead as to give the same oblique Hne to the eyes; 
 but the canthiis or angle of the eye is fixed immoveably, and no working of passion 
 can alter it. 
 
115 
 
 and call on death or madness as her sole relief, seem ill assorted 
 with that calmness of spirit which can stop to recollect and 
 enumerate in detail the figure and endearing manners of her 
 son. 
 
 Grief fills the room up of my absent child, 
 Lies in his bed, walks up and down with me; 
 Puts on his pretty looks, repeats his words, 
 Reuieiiiliers me of all his gracious parts, 
 Stuffs out his vacant garments with his form, 
 Then have I reason to be fond of grief. 
 Fare you well ! had you had such a loss as I, 
 I could give better comfort than 3'ou do. 
 I will not keep this form upon my head 
 
 [Tearing off' her head clothes. 
 When there is such disorder in m}- wit. 
 O Lord, my boy, my Arthur, my fair son ! 
 My life, my jo}', my food, my all the world ! 
 My widow comfort, and mj' sorrows' cure ! 
 
 This appears to me rather to be the stage of the passion which is 
 properly called sorrow ; the indulgence of which is attended with a 
 melancholy delight, and which can sanction the conclusion, 
 " Then have I reason to be fond of grief" Yet as conviction 
 returns at intervals upon the mind, a period of quiet and sorrowful 
 resignation is succeeded by starts and fi-antic bursts of grief 
 
 Though grief is in general distinguished by its violence, lamen- 
 tation, and tumult, while sorrow is silent, deep, brooding, and full of 
 depression, there is a stupefaction which sometimes characterises 
 
116 
 
 grief " the lethargy of woe;" of which were I to attempt a delinea- 
 tion I should follow the idea of Ariosto's Angelica : " She stood on 
 the desert shore stupid and immoveable ; her hair was loose and 
 disordered; her hands were joined; and with unmoving lips she 
 raised her languid eyes to heaven." 
 
 --) 
 
 . OF BODILY PAIN, ANOVISH, AND DEATH. 
 
117 
 
 In bodily pain and anguish the general cast of the features is like 
 that of grief; but instead of the torpid state of the muscles, which in 
 faintness, languor, and sadness, allows so total a relaxation that 
 the features gravitate as it were, there is in the muscles much 
 tension and action. 
 
 In this plate the pain is that of one sick, and in some degree 
 subdued by continual suffering. One striking feature of this ex- 
 pression is the confined nostril; for I have observed, that when the 
 suffering does not approach to extreme agon}^, the nostrils are 
 narrow and depressed. But an occasional pang will dilate the 
 nostril, cause the teeth to grind, draw wide the lips, raise the 
 eyebrow, make the eye sparkle as in extreme rage, and inflate all 
 the features. 
 
 In the preceding plate, page 112, we have a man forcibly 
 subdued in all his strength. The brows are more violently 
 knit, (which I conceive indicate here somewhat of rage and hatred 
 unsubdued,) and they are less elevated towards the centre of the 
 forehead; the nostril is inflated; the mouth open, but not stretched 
 wide : it is as if in a deep sonorous bellowing, and the whole face is 
 quivering with action. 
 
 In the UTMOST extremity of pain there are yet other distinctions 
 to be marked. In agony we may frequently perceive convulsive 
 motions in the cheeks and lips, and in the throat, which render all 
 
118 
 
 little muscles particularly distinct: a violent tension is upon the 
 whole face, and the painter is constrained to mark the anatomy 
 strongly. 
 
 After I had sketched the expression in the succeeding marginal 
 plate, I had within these few days an opportimity of observing 
 the truth of that expression. In extracting a bullet from the arm 
 of a strong young man, I saw on turning my eye to his face that it 
 was turgid with blood; the veins on the forehead and temples 
 distinct; the teeth strongly fixed, and the lips drawn so as to expose 
 the teeth and gums; the brows strongly knit, and the nostril dis- 
 tended to the utmost, and at the same time drawn up. 
 
 As expressive of the clinching of the jaws, the muscle which 
 moves the lower jaw must be marked swelling and in strong action, 
 but one great part of the expression is in the action of the strong 
 drawn fibres of the cutaneous muscle (r. plate II.) which gives 
 a stringy tension to the neck, and violently draws down the corner 
 of the mouth. 
 
 The mingling of despair and rage and bodily pain is a very 
 difficult study for the painter. But he must be able to express 
 these mingled emotions; else how shall he represent the 
 varieties of death which the historical painter must exhibit? 
 In this marginal plate I have sketched the idea of a man who 
 has received a mortal blow, but who is infuriated like a beast. 
 
119 
 
 Some wounds subdue at once the energies of the mind and 
 body : others shake the whole frame and countenance with horrible 
 convulsions. 
 
 V'A o-wtft'i?"/-- -^"-ir^ ■ 
 
 The whole muscles are here exerted to the utmost, and the 
 strongest having the preponderance give the character. The 
 muscles which shut the jaw are stronger than those which open it; 
 the jaw is therefore strongly clinched. We see that the muscles 
 
IfO 
 
 of the throat too (which are also those by which the jaw is drawn 
 down) are in action, and the convulsion of these muscles is to be 
 particularly marked. The nostril is inflated and drawn up, the lips 
 are open, and the angle is nearly drawn into a circle by the 
 simultaneous action of the following muscles in plate II : Levatores 
 Labiorum (f. g.) Zigomatici (h.) Buccinator (g. P. III.) Tri- 
 angularis Oris (n.) and Platysma Myoides (r.) The eyebrows 
 are strongly knit, and the eyeballs as if starting from their sockets. 
 
 If a man be shot, there will be no such ferocious expression. 
 There is here often a strange and inexplicable nervous effect, a 
 trembling and sinking of the body, with faintness and oppression ; 
 the face and body cold, pale, and livid. In a mortal gunshot wound 
 the character of the hero is lost; it yields to the universal law : yet 
 the feebleness of the palpitating breast, and the bewildered eye 
 in the death of a great man, strike us in certain circumstances 
 more forcibly perhaps than if we saw him in all his glory. 
 
 We cannot fail to observe how artfully the poets suit their de- 
 scriptions of death to that kind of interest in the person which they 
 have laboured to excit»; ; and this a judicious painter will not neg- 
 lect. The tyrant falls convulsed and distorted in painful agony ; 
 the hero, in whose fate the reader has been made to sympathise, 
 expires without the horrors of death ; his fall is described with all 
 the images of gentle declension, where mortal languor is succeeded 
 by insensibility, unaccompanied by pangs and struggles. 
 
121 
 
 In the Episode of Nisus and Euryalus, Virgil gives to the death 
 of'Sulmo all the horror of violent death. 
 
 hasta volans noctis diverberat umbras 
 
 Et venit adversi in tergum Sulmonis, ibique 
 Frangitdr, ac fisso transit praecordia ligno, 
 Volvitur ille vomens calidum de pectore flunien 
 Frigidus, et longis singultibus ilia pulsat. 
 
 jEneid ix. 411. 
 
 But m painting the death of Euryalus, the poet recurs to all the 
 images of languid and gentle decline : 
 
 Volvitur Euryalus letho, pulchrosque per artus 
 It cruor, inque humeros cervix collapsa recunibit, 
 Purpureas veluti cum flos succisus aratro 
 Languescit moriens, lassove papavera collo, 
 Demisere caput pluvia cum forte gravantiu*. 
 
 jEneid ix. 433 f. 
 
 It will indeed often he necessary to represent death unaccom- 
 panied with the horror by which natural representation must 
 
 * Tasso presents us with some very fine contrasts of the same kind; in paintin» 
 the death of Argante, for example, he gives a picture of ferocious and savage impetuo- 
 sity and strength. 
 
 Infuriossi allor Tancredi et disse; 
 Cosi abusi,fellon, lapieta mia? 
 Pol la spada gli fisse et gli refisse 
 Nella viscera, ove accerto la via. 
 Moriva Argante, e tal moria qual visse: 
 Minacciava morendo, e non languia; 
 
 R 
 
122 
 
 generally be distinguished. We not unfrequently see a young 
 creature in death, as if asleep, with the beauty of countenance 
 unobscured by convulsion ; the form alone remains ; the animation 
 is gone, and no colour beautifies the cheek. 
 
 E, quasi un cicl nottunio, anco screno 
 Senza splendor la faccia scolorita. 
 
 Tasso, Jer. Lib. Cant. 12. .81. 
 
 The necessity may occur of representing death as it approaches 
 
 Superbi formidabili, e feroci 
 Gli ultimi moti iiiv, I'uliinie voci. 
 
 Tasso, Jer. Lib. Cant. 19. ottava 2. 
 
 In the death of Dardinel, the simile of Virgil is beautifully imitated by Ariosto : 
 
 Come purpurco fior languendo muore 
 Che'l voniero al passar tagliato lassa 
 O come carco di supcrchio liumore 
 II papaver ne 1' horto il corpo abbassa 
 Cosi "-iu de la faccia osjni colore 
 Cadendo Dardinel di vita passa, &c. 
 
 As a further contrast take the death of the Soldans page : 
 
 E in atto si gentil, languir tremanti 
 
 Gli occhi e cader sul tergo il collo mira 
 
 Cosi vago e il pallore, c da sembianti 
 
 Di morte una pieta si dolce spira 
 
 Ch' ammoli il cor, &c. ix. 86. 
 
 t So of Nisus throwing himself upon the body of his friend, jEneid ix. iU. 
 Contrast also the death of Eumenius, lb. xi. 664, Avith that of Acca, and that of 
 Camilla, in the same book. 
 
123 
 
 slowly, or perhaps the care-worn countenance and hectic flush of 
 long sickness, or even that which by physicians is called the 
 Facies Hippocratica, from the accurate description of it by 
 Hippocrates. 
 
 When the eyelids, lips, and nose are livid, death is fast approach- 
 ing: but often before the last scene the wasted form will rise 
 with an anxious delirious look before finally falling into the embrace 
 of death. 
 
 In death the eyes are dull and sunk; the features sharp; the nose 
 pointed; the nostril somewhat contracted; the surface cold and 
 pale and leaden coloured. 
 
 The painter must hold in recollection the difference between a 
 dead body which he may have seen on the table of the anatomist, 
 and the dead in battle. It may be sometimes necessary to give the 
 rigidity of death to the figure, but more frequently either the 
 convulsive tension of expiring life, or the relaxation of death; 
 as Homer describes his heroes, rolling in death, with limbs relaxed 
 and nen-eless. 
 
 It appears to me that the painter is too apt to take his ideas 
 of death ii-om the stage. But it is scarcely possible that from such 
 a source he can derive the materials of a natural, simple, or terrific 
 rej)resentation. 
 
124 
 
 Often in death there is a gloom upon the countenance; the 
 eyebrow hangs low ; the eye is sunk and the orbit distinct ; the 
 nose is compressed and the lines of it sharp. The compression of the 
 nose is occasioned by the falling in of the nostril ; the lower jaw 
 falls, and the cheek is hollow. When the dead are dressed by the 
 undertaker for burial, and the jaw bound up, there is still something 
 very peculiar in the appearance of the mouth. There is no 
 breath hetwixt the lips and teeth, and the relaxed lips being forced 
 together, there is an unnatural fulness round the mouth, while the 
 lips themselves fall in. 
 
 A man who has died in battle lies blanched and very pale; he 
 bleeds to death. But one strangled or cut off by violence in civil 
 broil, amidst his efforts, has the blood settled in his face. The 
 following picture is truly horrible from its truth and accuracy: 
 
 But, see, his face is black, and full of blood; 
 
 His eyeballs further out than when he liv'd, 
 
 Staring full ghastly like a strangled man : 
 
 His hair uprear'd, his nostrils stretch'd with struggling; 
 
 His hands abroad display'd as one that grasp'd 
 
 And tugg'd for life, and was by strength subdu'd. 
 
 Look on the sheets ; his hair, you see, is sticking; 
 
 His well proportion'd beard made rough and rugged. 
 
 Like to the summer's corn by tempest lodg'd. 
 
 It cannot be, but he was murder'd here; 
 
 The least of all these signs were probable. 
 
 King Henry VI. Part II, 
 
 The character of gross sleep and apoplexy must depend very 
 much on the colouring. The latter especially is to be indicated by 
 
125 
 
 the suffused bloated countenance; the eyes, if open, turgid and red 
 with blood. But Hogarth has shewn us that colours are not ne- 
 cessary to represent apoplexy. We must mark the indolent 
 corpulent habit ; the full round head and short neck ; the inflated 
 countenance; the valve-like action of the swelled lips upon the 
 breath. 
 
 ir. 
 
 OF LAUGHTER AND WEEPING. 
 
126 
 
 We turn from an unpleasing subject, and it may be well to dissi- 
 pate the thoughts which it excites by surveying the more ludicrous 
 expressions of the countenance. 
 
 We iind that the part of the cheek which is over the cheek-bone 
 (osmalfe, PI. I. fig. 2.) has no muscles inserted into it, and of course 
 that it cannot be moved directly by the muscles. Yet perhaps the 
 character of the expression in laughter, w^eeping, or sneezing, de- 
 pends more upon the motion of this part than on the angle of the 
 mouth, for the cheek rises upon the socket of the eye, and wrinkles 
 ])lay about the CN'es. 
 
 This rising of the cheek is produced by the conjoint action of the 
 elevating muscles*. By pulling up the lower part of the cheek they 
 accumulate it as it were upon the eye. In this ojieration the circular 
 fibres of the eyelids (orbicularis palpebrarum c. c.) assist, while 
 at the same time they press back the eyeball, so that the eye is 
 nearly closed, and peers through the tears, which in hearty laughter 
 flow in consequence of the pressure of the lachrymal gland. 
 
 Laughter makes these changes on the face : the eyebrows are 
 sometimes drawn down, but more generally their outer half is very 
 much arched; Avhile, in consequence of this elevation, their inner 
 extremity is pointed downwards ; and this is a turn of the eyebrow 
 
 D. F. 
 
 H. I. Plate II. 
 
1-27 
 
 which never fails to give an archness to tlie expression. I'he mouth 
 is open, and the teeth appear; the angles of the mouth are drawn 
 backward and upward ; the nostrils are dilated ; the cheek raised, 
 and in violent laughter tears sometimes suffuse the eye. 
 
 The muscles in action are first the occipito frontalis a. and 
 the orbicular fibres of the eyelids c. c. Plate II. 
 
 It is the combined action of these which gives so very particular 
 and acute an arch to the eyebrow, and a different effect to the 
 action of the orbicular muscle of the eye from that which it produces 
 in crying. 
 
 Next the Levator Al^ Nasi (d.) raises the nostril, and dilates 
 It in a very particular and characteristic manner. 
 
 Further the cheek is raised, and the lips drawn by the combined 
 effect of all the muscles which are inserted into the lips from the 
 surrounding points of bone ; if we except the Triangularis Oris 
 (n.) The action of this last muscle converts the broad grin into the 
 contemptuous sneer. 
 
 The lowest class of the Dutch painters, and the caricature 
 draughtsman, have chiefly to do with broad laughter. It is too 
 ludicrous and too violent a straining of the features for other compo- 
 sitions. Yet a. a stud^^ as the means of understanding the action of 
 
128 
 
 the muscles, and acquiring a mastery over the play of the features, 
 the historical painter must not neglect it. 
 
 The older painters, perhaps with this view, seem many of them to 
 have indulged in caricature. 
 
 When we see a little hlackguard grinning triumphantly, and 
 exulting in his mischief, we may see the origin of the thought 
 in the philosopher that laughter is a sudden conception of eminence 
 in ourselves. 
 
 i.'k^^ 
 
 A smile has more variety of expression than laughter. It may 
 convey a thousand different meanings. The placid smile of 
 
129 
 
 benignity ; the contemptuous arching of the lower lip * ; the smile 
 of sorrow ; the simper of conceit ; the distorted smile of the 
 drunken man, when tlie eyes with difficulty perform their office ; 
 the leer, &c. 
 
 The smile is produced by a less degree of the same action as 
 in laughing. The concentrated muscles near the angle of the 
 mouth dimple the cheek, and gi^e it some degree of fulness, while 
 a slighter elevation of the eyebrow produces a cheerfulness in the 
 eyes. 
 
 But there is an expression still more charming : a certain mobi- 
 lity of the features which indicates the susceptible mind of a lovely 
 woman, and is more enchanting than the dimpled cheek; an 
 evanescent illumination of the countenance which words cannot 
 conve\', and in the representation of which the painter has the supe- 
 riority over the poet. 
 
 * Virjr. ix. 710. lb. x. 742. 
 
150 
 
 OF WEEPING. 
 
 
 
 I ha\e thrown the expression of weeping, from pain, into the face 
 of a fawn : for laying aside the tear of sensibility and grief, there is in 
 weeping something inexpressibly mean and ludicrous when it 
 appeai-s in the countenance of a man. 
 
 In the violence of weeping, accompanied with lamentation and 
 outcry, the face is flushed, or rather I may say, suffused with stagnant 
 
131 
 
 blood, and the veins of the forehead are distended. There is ii 
 convulsive action in the muscles about the eyes; the brow is drawn 
 down; the cheek raised; the nostril drawn up, and the mouth 
 stretched laterally. 
 
 In weeping also, unless the convulsive action of the muscles be 
 very strong, the general expression of grief affects that part of the 
 eyebrows which is next the nose. It is turned up with a peevish 
 expression : the corners of the mouth also are depressed. 
 
 If we had a perfect knowledge of the function of the nerves, they 
 niiu'ht on all occasions inform us of the causes of those actions which 
 appear to us inexplicable. The distribution of the fifth pair of nerves 
 gives us a physical cause for the expression of the face in weeping: 
 for if we look upon a view of the nerves of the face* we shall find 
 that the same nerve supplies all the parts particularly affected. We 
 may observe that although Ave can command the features, the tears 
 will not be controlled. The lachrymal gland seems to be the part 
 upon which this sympathy is primarily exerted, when with a 
 pungent feehng in the membrane of the nose the whole of the 
 muscles supplied by the branches of this nerve (viz. the ophthalmic 
 and upper maxillary nerve) are strongly convulsed f. 
 
 * See Engravings of the Nerves, 4to. Longman's, Plate I. A. B. c. D. E. 
 
 t Homer is true to nature in representing this as the sudden effect produced 
 on Ulysses when he sees his father pour the dust upon his reverend head ; but his 
 ti-anslators do not seem to have understood the full effect of his picture. Odyss. B. 2 k 
 
 /^ 
 
132 
 
 Through the intervention of the sympathetic nerve, probably there 
 is a strict sympathy betwixt the heart and lungs and the nose and 
 eyes, that may account for the sobbing and outcr)^, the convulsive 
 and interrupted heaving of the chest in weeping. In a child we 
 see the passion sometimes so violent that the breathing is quite sus- 
 pended, and the face becomes black. 
 
 «»i 
 
133 
 
 III. 
 
 OF JOY AND DISCONTENT. 
 
 In joy the eyebrow is raised moderately, but without any angula- 
 rity ; the forehead is smooth; the eye full, lively, and sparkling ; the 
 nostril is moderately inflated, and a smile is on the lips. In all the 
 exhilarating emotions, the eyebrow, the eyelids, the nostril, the angle 
 of the mouth are raised. In the depressing passions it is the reverse. 
 For example, in discontent the brow is clouded, the nose peculiarly 
 arched, and the angle of the mouth drawn down verjr re- 
 markably. 
 
 ^vS^- 
 
134 
 
 I have here given a sketch of the testy, pettish, peevish counte- 
 nance bred of melancholy ; one who is incapable of receiving 
 satisfaction fi'om whatever source it may be offered; he cannot 
 endure any man to look steadily upon him, or even speak to him, 
 or laugh, or jest, or be familiar, or hem, or point, without thinking 
 himself contemned, insulted, or neglected. 
 
 This arching of the mouth and peculiar form of the wings 
 of the nose is produced by the conjoint action of the triangular 
 muscle which depresses the angles of the mouth, (n. Plate 11.) 
 and the superbus (i. Plate IIT.) whose individual action protrudes 
 the lower lip. 
 
 The very peevish turn given to the eyebrows, this acute upward 
 inflection of their inner extremity, and the meeting of the per- 
 pendicular and transverse furrows in the middle of the forehead, 
 is produced by the opposed action of the middle part of the 
 frontal muscle, (occipito frontalis a.) and the corrugator 
 muscle (b.) 
 
13.5 
 
 I introduce this drawing not as exemplifying the action of the 
 muscles, but chiefly as a contrast to the other sketches. Here there 
 is a placid calmness in the features, a reverent attention with an 
 elevation of thought. The whole is very different from the working 
 of the features in the diversity of worldly passions. 
 
156 
 
 SUSPICION, RAGE, REMORSE. 
 
 
 
 
 '*-; 
 ■^'L 
 
 
 Habitual suspicion an'd JE;ALOusy are symptoms and accompani- 
 ments of melancholy. Envy may be classed with these expressions. 
 But it is an ungenerous repining, not a momentary passion*. 
 
 * It consumes a man as a moth does a garment to be a living anatomy, a skeleton, 
 to bealean and pale carcass quickened with the fiend, " intabescetque videndo.'" 
 
 " La' invidia, crudelissimo dolore di animo, per il bene altrui; fa ritirar tutti i 
 membri, comecontracre, etoffuscar leciglia,stringere denti, ritirar, leJabratorcersi con 
 cerla passione di sguaido qtiasi in atto di volere intendere et spiare i fatii altrui, &c. 
 
 LoMAzz. p. 130. 
 
137 
 
 Suspicion is characterized by earnest attention, with a certain 
 timorous obliquity of the eyes. Spenser characterizes suspicion as 
 
 being 
 
 -foul, ill-favouved, and grim, 
 
 Under his eyebrows looking still askance, 
 
 And ever as Dissemblance laught on him, 
 
 Lowring on her with dangerous eye glance, 
 
 Shewing his nature in his countenance. 
 
 His rolling eyes did never rest in place, 
 
 But walkt each where for fear of hid mischance, 
 
 Holding a lattice still before bis face. 
 
 Through which he still did peep as forward he did pass. 
 
 Jealousy is marked by a more frowning and dark obliquity of the 
 eyes, as if he said, " I have an eye of you :" with the lowering eye- 
 brow there is combined a cruel expression of the lower part of the 
 face. 
 
 Jealousy is a fitful and unsteady passion : much of its character is 
 in the rapid vicissitudes from love to hate ; now absent, moody, and 
 distressed ; now courting love ; now ferocious and revengeful — it is 
 therefore difficult to represent it in painting. In poetry alone can it- 
 truly be presented in the vivid colours of nature; and even of poets, 
 Shakspeare alone seems to have been equal to the task. Sometimes 
 it may be personified in the countenance of a mean, pitiful, sus- 
 picious, yet oppressed creature : or again in a bold lowering counte- 
 nance, the body as if shrunk into itself like one brooding over 
 his state, and pieceing out a tissue of trilling incidents to abuse his 
 Judgment. 
 
138 
 
 In jealousy the eyelid is fully lifted, and the eyebrows strongly 
 knit, so that the eyelid almost entirely disappears, and the eyeball 
 glares from under the bushy eyebrow. There is a general tension 
 on the muscles which concentrate round the mouth, and the lips are 
 drawn so as to shew the teeth with an expression of cruelty, depend- 
 ing in a great measure, perhaps, on the turn of the nostril, which ac- 
 companies the drawing of the lips. The mouth should express that 
 bitter anguish which the Italian poet has rather too distinctly 
 told: 
 
 Tricma '1 cor deiitro e trieman fuor Ic labbia 
 
 Non ]iiiola lingua disnodar parola, 
 
 La bocca amara e par die tosco v' habbia. 
 
 Again : 
 
 E per 1' ossa un tremor frcddo g]i scorre, 
 Con cor tralitto, c con pallitla faccia 
 E con voce trcinante, e bocca amara. 
 
 There seems to be a natural succession in Rage, Revenge, and 
 Remorse. I do not mean morally, but speaking with an eye to 
 our present enquiry concerning the traits of expression. A slight 
 change on the lineaments of rage gives the expression of revenge, 
 while the cruel eye. of revenge is tempered by the relaxing energy 
 of the lower part of the countenance in remorse. 
 
139 
 
 
 ^' 
 
 ^■wlA- 
 
 7 
 
 
 In rage the features are unsteady, the eyeballs are seen largely; 
 they roll and are inflated. The front is alternately knit and 
 raised in furrows by the motion of the ej^ebrows ; the nostrils are 
 inflated to the utmost ; the lips are swelled, and being draAvn, open 
 the comers of the mouth. 
 
140 
 
 The action of the muscles is strongly marked. The whole visage 
 is sometimes pale, sometimes inflated, dark, and almost livid ; the 
 words are delivered strongly through the fixed teeth ; " the hair is 
 fixed on end like one distracted, and every joint should seem to curse 
 and ban *." 
 
 Tasso thus describes the rage of Argante : 
 
 Tacque; e M Pagano al soffcrir poco uso, 
 Morde le labbraf, e di furor si strugge. 
 Risponder vuol, ma '1 suono esce confuso, 
 Si come strido d' animal, che rugge; 
 O 'come apre le nubi, ond' egli e ciiiuso 
 Impetuoso il fulmine, e sen fugge: 
 Cosi pareva a forza ogni suo detto, 
 Tonando uscir dal' infiammato petto. 
 
 Cant. VI. 38. 
 
 * La furia, fa gT atti stoiti, et fuor di se; si comme di quelli che si avvolgono ne i 
 moti offensivi, senza riguardo alcuno, rendendosi vehementi in tutti gl' affetti, con 
 bocca aperta, et storta, che par che stridano ringliino urlino et si lamentino, strac- 
 ciandosi le membra et i panni et facendo altrc snianie. 
 
 LoMATZZO, lib. II. p. 135. 
 
 f As it is thought rather a mean expression in the statue of David with his sling, 
 that he bites his lip, so perhaps the poet should avoid an expression which has so 
 little dignity. 
 
 If the painter has any imagination and power of delineation, the reading of the 
 whole passage, -being the combat of Tancred and Argante, must inspire him with the 
 grandest conception of the sublime ferocity of the human figure in action. 
 
/^ 
 
 
 ^.^^ 
 
 ■\ 
 
 \ 
 
 v\ 
 
 Irnrhn PMislir,! iv Limpn/Jn li:i''.hiiKi''/806 
 
141 
 
 But tlie passion may be much varied in the representation: 
 perhaps the eyes are fixed upon the ground; the countenance pale, 
 troubled, and threatening; the lip trembles, and the breath is sup- 
 pressed, or there is a deep and long inspiration. 
 
 The following passage from Metastasio seems to me accurately 
 descriptive of suppressed hatred and rage : 
 
 Non parli! Iguardi al siiolo 
 
 Lasci cader ! quel torbido sembiantCj 
 
 Pallido insieine e minaccioso, il labro 
 
 Chefremendo sospira, 
 
 Son chiari segni e di dolore, e d' ira. 
 
 In the following sketch I have endeavoured to represent those 
 feelings which succeed the last horrid act of revenge: the storm has 
 subsided, but the gloom is not 5'^et dissipated. Some compunctious 
 visitings of nature are in the lips, though the eye retains its severity. 
 By the posture and the fixed attention, I would indicate that the 
 survey of the now lifeless body carries back the train of thought 
 with a less severe judgment of past transactions. 
 
142 
 
 lyy/y/ 
 
 IV. 
 
 WONDER, ASTONISHMENT, FEAR, TERROR, HORROR, DESPAIR. 
 
 I class these together as nearly allied in expression, and as 
 frequently combined. 
 
 Wonder is that state of the mind in which the senses or appre- 
 hension are more satisfied than the understanding, in which there is 
 
143 
 
 a conviction contrary to the usual train of our thoughts and 
 conclusions. It is indicated in the countenance by an eager stare, 
 the mouth being a Httle open, as in earnest attention. When com- 
 bined with admiration, a smile plays upon the cheek. 
 
 Astonishment is somewhat different from wonder. It OA'er- 
 whelms the faculties, and leaves the mind vacant, and the features 
 stupified and blank. 
 
 In Fear there are several degrees, which it is of some im.portance 
 to mark. 
 
 In SIMPLE BODILY FEAR there is mere animal expression, great 
 meanness, and almost total absence of mind and energy. Mr. 
 Burke, in his s}>eculations on fear, assimilates it, with perhaps too 
 little discrimination, to pain. " A man in great pain," he obsenes, 
 " has his teeth set ; his eyebrows are violentl}'^ contracted ; his fore- 
 head is Avrinkled ; his eyes are dragged inwards, and rolled with 
 great vehemence; his hair stands on end ; his voice is forced out in 
 short shrieks and groans ; and the whole fabric totters." — " Fear or 
 terror," he continues, " Avhich is an apprehension of pain or death, 
 exhibits exactly the same effects, approaching in violence to those 
 just mentioned, in proportion to tiie nearness of the cause, and the 
 weakness of the subject *. 
 
 * Sublime and Beautiful, p:ut iv. § 3. Cause of Pain and Fear. 
 
144 
 
 But there is one distinguishing feature of the two expressions — 
 The immediate effect of pain is to produce an energetic action and 
 tension of the whole frame ; that of fear is to relax all the energy of 
 mind and body, to paralyse as it were every muscle. Mr. Burke 
 seems to have written loosely, in part from forgetting that pain and 
 fear are frequently combined, and partly from taking a view of the 
 subject too much limited to the particular conclusion which he 
 wished to enforce. There cannot be great pain without being 
 attended with the distraction of doubts and fears ; dread even of 
 death is a natural consequence of extreme pain, and so the expression 
 of fear in the countenance is frequently mingled with that of pain. 
 But perhaps there are few passions which may not, in consequence of 
 such combinations, be assimilated Avith equal truth — fear and hatred ; 
 hatred and rage; rage and vengeance and remorse. On the other 
 hand, confining the assimilation with pain to the case of simple 
 bodily fear, there is much truth in the observation of this eloquent 
 Avriter. The fear of boiling water falling on the legs gives certainly an 
 expression of the anticipation of scalding, resembling the meaner ex- 
 pression of bodily pain and suffering. As Mr. Burke says, fear in a 
 dog will no doubt be that of the lash, and he will yelp and howl as if 
 he actually felt the blows. This indeed is the only kind of fear 
 which animals know. The higher degrees of fear, in which 
 the mind operates, and which we shall see characterised in 
 the countenance by an expression peculiar to mental energy, 
 appears not in them. 
 
14.5 
 
 In man the expression of mere bodily fear is, like that of animals, 
 without dignity ; it is the mean anticipation of pain. The ej^eball 
 is largely uncovered ; the eyes staring ; the eyebrows elevated to the 
 utmost stretch. There is a spasmodic affection of the diaphragm 
 and muscles of the chest, affecting the breathing, producing a gasp- 
 ing in the throat with an inflation of the nostril, convulsi\ e opening 
 of the mouth, and dropping of the jaw ; the lips nearly concealing the 
 teeth, yet allowing the tongue to be seen, the space between the 
 nostril and lip being full. There is a hoUowness and convulsive 
 trembling in the cheek, and lips, and muscles, on the side of the neck. 
 The whole animal functions are affected, and that nerve which is 
 called the sympathetic* seems the master spring. The lungs are 
 kept distended, while the breathing is short and rapid: and from the 
 connection of the ner^^es of the lungs and midriff -f- with those of the 
 side of the neck, and with the branches which supply the cutaneoiib 
 muscle of the cheek and neck, we may comprehend the cause of the 
 convulsive motion of this muscle. The aspect is pale and cadaverous 
 fi-om the receding of the blood. The hair is lifted up by the 
 creeping of the skin. 
 
 In the sketch at the head of this chapter I have endeavoured to 
 express fear mingled with wonder. But if we sliould suppose the 
 fear there represented to have arisen from apprehended danger still 
 
 * Engravings of the Nerves, 4to. Longmans, Plate III. where the course of this 
 Nerve is represented. 
 
 t See Plate U. of the Nerves. 
 
 V 
 
146 
 
 remote, and that the object of fear approaches, the person trembles 
 and looks pale; a cold sweat is on liis face; he apprehends it now 
 about to cleave to him, and in proportion as there is less room for the 
 imagination to range in, as the danger is more distinctly visible, the 
 expression partakes more of actual bodily pain. The scream of 
 fear is heard, the eyes start forward, the lips are drawn wide, the 
 hands clenched, and the expression becomes more strictly animal ; 
 of such fear as is common to brutes. ..- * 
 
 
 
 I should give the name of Terror to that kind of fear in which the 
 mind takes part, in which there is a strong working of the imagina- 
 tion with greater energy, a more varying expression in the features, 
 and an action of those muscles which are peculiar to man, and which 
 seem to indicate his superior intelligence and mental feeling. The 
 
147 
 
 steps are hurried and unequal; the eye bewildered; the inner ex- 
 tremit}^ of the eyebrows turned up and strongly knit by the action of 
 the corrugator and orbicular muscles, (b. c. c. plate II.) and dis- 
 tracted thought, anxiety, and alarm, are strongly indicated by this 
 expression, which belongs not to animals. The cheek is a little 
 elevated, and all the muscles which concentrate about the mouth are 
 in action. There is a kind of modulating action in the circular 
 muscle of the lip ; the lips are inflated, the mouth less open. The 
 icutaneous muscle, the platysma myoidcs (r. plate 11.) has a strong 
 • effect on the angle of the mouth and lower angle of the cheek and 
 neck. It is strongly contracted, and its strong fibres may be seen 
 starting into action like cords under the skin. In Metastasio, 
 the description of Cain after the death of Abel affords a good illustra- 
 tion of terror*. 
 
 Horror differs both from fear and from terror, though more nearly 
 allied to the last than to the first. It is superior to both in this, 
 
 * The imagination wanders; there is an indecision in the action and speech. 
 
 Canst thou quake and ciiange thy colour, 
 Murther th^' breath in middle of a word. 
 And then again begin, and stop again, 
 As if thou wast distraught and mad with terror r 
 
 Oh come gira 
 
 II sosjoettoso sguardo 
 
 Sollecito d' intorno ! onde que' passi 
 
 Ineguali,e furtivi ? ad ogni moto 
 
 D' un aura sol, che trale fronde gcma 
 
 Si volgc indietro, impallidiscc, e trema ! 
 
 METASTASIO. 
 
148 
 
 that it is less selfish, less imbued with alarm, more sympathetic, 
 having in contemplation the feelings of others, rather than a strict 
 and immediate relation to our own individual suffering. We are 
 struck with horror even at the spectacle of artificial distress, but it is 
 peculiarly excited bj'^ the danger or actual suffering of others. We 
 see a child under a waggon wheel, and in danger of being crushed by 
 the enormous weight, with sensations of extreme horror. Horror is 
 full of energy. The body is in the utmost tension, not unmanned as 
 with fear. A sensation of cold seems to chill the blood *, the flesh 
 creeps, and we feel that peculiar sensation which gives its name to 
 the emotion. 
 
 It is in the mingling of these emotions that some of the most 
 interesting features of expression, of which the human countenance 
 is capable, are to be found. 
 
 Terror, when mingled with astonishment, is fixed and mute. 
 The fugitive and unnerved steps of mere terror are changed for the 
 rooted and motionless figure of a creature appalled and stupified. 
 Spenser characterizes well this kind of terror : 
 
 He answered nought at all : but adding new 
 
 Fear to bis first amazement, staring wide 
 With stoney eyes and heartless hollow hue, 
 
 Astonislicd stood as one that had espied 
 Infernal furies with their chains untied, 
 
 * Me damp horror chilled at such bold words. 
 
 Milton, V. ver. 65. 
 
149 
 
 And trembling every joint did inly quake, 
 
 And faltring tongue at last these words seemed foith to shake. 
 
 FAIRY QUEEN. 
 
 Homer paints the emotion thus : " Terror and consternation at 
 that sound the mind of Priam felt, erect his hair, bristled his limbs, 
 and with amaze he stood motionless." 
 
 Despair is a mingled emotion. While terror is in some measure 
 the balancing and distraction of a mind occupied with a possibility 
 of danger, despair is the total wreck of hope, the terrible assurance 
 of ruin having closed around beyond all power of escape. The ex- 
 pression of despair must vary with the nature of the distress of which 
 it forms the acme. In certain circumstances it will assume a bewil- 
 dered distracted air, as if madness were likely to afford the only 
 relief from mental agony. Sometimes there is at once a \^nldness in 
 the looks and total relaxation, as iffalling into insensibility ; or there 
 is upon the countenance of the desperate man a horrid gloom ; the 
 eye is tixed, yet he neither sees nor hears aught, nor is sensible of 
 what suiTOunds him. The features are shrunk, and pale and livid, 
 and convulsion and tremors affect the muscles of the face. Hogarth 
 has chosen well the scene of his picture of despair. In a gaming 
 house the:wreck of all hope affects, in a thousand various ways, the 
 victims of this horrible vice ; but in all pictures of despair an incon- 
 solable and total abandonment of those exertions to which hope in- 
 spirits and excites a man, forms an essential feature. We have two 
 fine pictures of despair painted in detail by English poets. One is 
 by Spenser, in Book I. Cant. 9. Stanz. 35. of the Fairy Queen. 
 
150 
 
 The darksome cave they enter, where they find 
 That cursed man low sitting on the ground, 
 Musing full sadly in his sullen mind ; 
 His griesly locks long growen and unbound, 
 Disordered hung about his shoulders round 
 And hid his face ; through which his hollow eyne 
 Look deadly dull, and stared as astound ; 
 His rawbone cheeks through penury and pine 
 Were shrunk into his jaws as he did never dine. 
 
 The other picture of despair is in the tragedy of the Gamester, 
 where Beverley, after the most heart-rending reiteration of hope and 
 disappointments, having staked the last resource and final hope of 
 his wife and family on one fatal throw, imds himself suddenly 
 plunged into inevitable ruin. 
 
 " When all was lost, he fixed his eyes upon the ground, and stood 
 sometime with folded arms stupid and motionless : then snatching 
 his sword that hung against the wainscoat, he sat him down, and 
 with a look of fixed attention drew figures on the floor. At last he 
 started up ; looked wild and trembled ; and like a woman seized with 
 her sex's fits, laughed out aloud, while the tears trickled down his 
 face. So he left the room." 
 
 A painter may have to represent terror, despair, astonishment, and 
 supernatural awe mingled in one powerful expression of emotion. 
 In a mind racked with deep despair, conscious of strength and 
 courage, but withered and subdued by supernatural agency, the 
 expression is quite removed from all meanness. It must be 
 
151 
 
 preserved grand and terrific. The hero may still appear though pal- 
 pitating and drained of vigour*. 
 
 \ 
 
 r- 
 
 * A beautiful example of this, in poetical description, occurs ift the passage where 
 Virgil paints the death of Turnus. Conscious of the opposition of heaven, and how 
 fruitless and unavailing all his efforts are, he shrinks unnerved from every exertion. 
 " His spirits, as in a dream, are all bound up." 
 
 Neque currentem se nee cognoscit euntem, 
 ToUentemve noanu, saxumque immane moventem : 
 Genua labant, gelidus concrcvit frigore sanguis: 
 Turn lapis ipse viri vacuum per inane volutus 
 Nee spatium evasit totum, nee pertulit ictum : 
 Ac velut in somnis oculos ubi languida pressit 
 
152 
 
 111 this sketch of terror with despair there is a considerable change 
 in the action of the muscles from the appearance and physiognomy 
 of simple bodily fear. The muscles are trembling in action ; there 
 is more energy ; the e5^ebrows are more forcibly knit. 
 
 Milton has admirably sketched the nerveless stupefaction of 
 mingled astonishment and hoiTor. 
 
 On til' other side Adam, soon as he heard 
 The fatal trespass done by Eve, amuz'd, 
 Astonied stood and blank! while horror chill 
 Ran thro' his veins, and all his joints relaxed. 
 From his slack hand the garland wreathed for Eve 
 Down drop'd, and all the faded roses shed ; 
 Speechless he stood and pale! till thus at length 
 First to himself he inward silence broke. 
 
 B. ix. ver. 838. 
 
 Nocte quies, nequicquam avidos extendere cursus 
 Velle videmur et in mediis conatibus aegri 
 Succidimus; non lingua valet, non corpore notae 
 Sufficiunt vires, nee vox aut verba sequuntur : 
 Sic Turno quacunque viam virtute petivit 
 Successum deadira negat. 
 
 j^NElD. xii. 903. 
 
lf)3 
 
 MADNESS. 
 
 ^ 
 
 If laying aside the peculiar expression of the features, I were to 
 set down what ought to be represented as the prevailing character 
 and physiognomy of a madman, I should say, that his body should 
 
154 
 
 be strong and muscular, rigid and free from fat ; his skin bound ; 
 his features sharp; his eye sunk; his colour a dark brownish 
 yellow, tinctured with sallowness, without one spot of enlivening 
 carnation ; his hair sooty, black, stiff, and bushy ; or perhaps he 
 might be represented as of a pale sickly yellow, with wiry red hair: 
 yet in this I do not proceed upon the authority of the poet, for such I 
 have seen. 
 
 His burning eyen, whom bloody strokes di.l stain, 
 Stared full wide, and threw forth sparks of fire, 
 And more for rank dispiglit than for great pain 
 Shak't his long locks, coloured like copper wire. 
 And bit his tawny beard to show his raging ire. 
 
 I mean not here to trace the progress of the diseases of the mind, 
 but merely to throw out some hints respecting the character of the 
 outrageovis maniac. 
 
 You see him lying in his cell regardless of everv thing, with a 
 death-like fixed gloom upon his countenance. When I say it is a 
 death-like gloom, I mean a heaviness of the features without knit- 
 ting of the brows or action of the muscles. 
 
 If you watch him in his paroxysm you may see the blood working 
 to his head; his face acquires a darker red; he becomes restless; 
 then rising from his couch he paces his cell and tugs his chains. 
 
1.55 
 
 Now his inflamed eye is fixed upon 3 ou, and his features lighten up 
 into an inexpressible wildness and ferocity. 
 
 The error into which a painter would naturally fall, is to represent 
 this expression by the swelling features of passion and the frowning 
 eyebrow ; but this would only convey the idea of passion, not of 
 madness. And the theory upon which we are to proceed in at- 
 tempting to convey this peculiar expression of ferocity amidst the 
 utter wreck of the intellect I conceiA^e to be this, that the expression 
 of mental energy should be avoided, and consequently all exertion of 
 those muscles which are peculiarly indicative of sentiment. This I 
 conceive indeed to be true to nature, but I am more certain that it is 
 correct in the theory of painting. I conceive it to be consistent with 
 nature, because I have observed (contrary to my expectation) that 
 there was not that energy, that knitting of the brows, that indignant 
 brooding and thoughtfulness in the face of madmen which is gene- 
 rally imagined to characterise their expression, and which we almost 
 uniformly find given to them in painting. There is a vacancy in 
 their laugh, and a want of meaning in their ferociousness. 
 
 To learn the character of the human countenance when devoid of 
 expression, and reduced to the state of brutality, we must have 
 recourse to the lower animals ; and as I have already hinted, study 
 their expression, their timidity, their watchfulness, their state of ex- 
 citement, and their ferociousness. If we should happily transfer 
 
156 
 
 their expression to the human countenance, we should, as I cori- 
 ceive it, irresistibly convey the idea of madness, vacancy of mind, 
 and mere animal passion. 
 
 • 
 
 The rage of the most savage animal is derived from hunger or fear. 
 The violence of a madman arises from fear ; and unless in the utmost 
 violence of his rage, a mixture of fear will often be perceptible in his 
 countenance. Often in lucid intervals, during the less confirmed 
 state of the disease, they acknowledge their violence towards any 
 particular person to have arisen from a suspicion and fear of their 
 having intended some injury to them. 
 
 This fact accounts for the collected shrunk posture in which a 
 madman lies ; the rolling watchful eye which follows you ; and the 
 effect of the stern regard of his keeper, which often quiets him in his 
 utmost extravagance and greatest perturbation. 
 
 I have thus put down a few hints on a most unpleasant and dis- 
 tressing subject of contemplation. But it is only when the enthu- 
 siasm of an artist is strong enough to counteract his repugnance to 
 scenes in themselves harsh and unpleasant, when he is careful to 
 seek all occasions of storing his mind with images of human passion 
 and suffering, when he philosophically studies the mind and affections 
 as well as the body and features of man, that he can truly deserve 
 the name of a painter. I should otherwise be inclined to class him 
 
157 
 
 with those physicians who, being educated to a profession the most 
 interesting, turn aside to grasp emokiments by gaudy accomplisli- 
 ments, rather than by the severe and unpleasant prosecution of 
 science. 
 
 1^ 
 
 M , l 
 
 w^wi ; 
 
 % V 
 
 •'i\ 
 
 A 
 f 
 
 -i-- V 
 
 I \\i 
 
 
 r%,t^ 
 
 
 
 
 y 
 
ESSAY VII. 
 
ESSAY VII. 
 
 OF THE ECONOMY OF THE UVING BODY AS IT RELATES TO EXPRESSION AND 
 CHARACTER IN PAINTING. 
 
 The living body consists of parts and functions so intimately com- 
 bined as to form a perfect whole. The anatomist indeed is too apt 
 to look upon the several parts as distinct systems, but in our present 
 short review we have to consider them merely in their mutual relation 
 and strict dependance on each other. 
 
 The NERVOUS SYSTEM Comprehends the nobler division of func- 
 tions ; the brain, the organs of the senses, and the nerves. While 
 this may be considered as the seat of intellect and sensation, the 
 animal functions, otherwise insulated, are by its secret sj'mpathies 
 combined into a system. The will performs the voluntary motions 
 through the medium of the nerves, which having their origin in 
 the brain, are extended to all the parts of the body. But what are 
 
162 
 
 called the vital functions are not under the command of the will. 
 They are too important to life, to be left to the precarious exercise 
 of the intellectual powers, yet these functions are not altogether 
 independent of the influence of the nerves. The nervous filaments 
 are extended to the heart, and wind about the vessels in their 
 course through the body. And thus on the one hand the passions 
 of the mind agitate the heart, and often the feelings seem to centre 
 there with palpitation and a sense of sinking ; while on the other, the 
 nerves, where affected by emotion, influence in no less a degree 
 the minute ramifications of the vessels which go to the surface, and 
 produce a visible effect as in blushing, or in the paleness and 
 coldness and shrinking of the skin in fear. 
 
 While the nerves have this power over the vascular system, they, 
 and the brain itself, are intimately dependant on the action of the 
 blood vessels ; for this inscrutable power of the nerves is preser\'ed 
 to them only by the perpetual contact and supply of the circulating 
 blood. 
 
 The VASCULAR SYSTEM consists of the heart arteries and veins. 
 They convey the blood through the whole body. The blood 
 contains the nutritious matter for the support of the body, while 
 it imparts, though in a less palpable way, the power of sensation to 
 the nerves, and the power of contraction to the muscles; or in other 
 words, the principle of life. The impulse of the heart throws out 
 the blood by the arteries to every part of the body ; the blood is re- 
 
163 
 
 turned by the veins to the heart; and thus it flows in a perpetual 
 circle. 
 
 The heart then is the centre of the system of blood vessels. 
 The arteries are small and pulsating vessels, and the blood thrown 
 out by the action of the heart, and forced on in its course by the 
 arterial power, passes through the arteries with great velocity, so 
 that if an important branch be cut there is immediate danger to 
 hfe. The arteries therefore run deep, and nature gives them every 
 possible protection of bones and muscles. The artist never sees 
 them unless on the bare temples of old men, where they run a very 
 tortuous course, and may be perceived to beat strongly. The 
 veins by which the blood is returned to the heart have a form 
 different from the arteries. They are larger and more numerous. 
 They run in two sets; one deeper, the other more superficial, 
 and the blood returns through them with a slower and more 
 uniform course. 
 
 Of the veins the painter should remark, that in young people 
 they do not appear prominent or turgid, being restrained by the 
 elasticity of the skin : neither are they prominent in women, but 
 appear merely as faint blue lines in the transparent skin. I know 
 not whether the veins of women ought on any occasion to be 
 delineated, but in natural colouring their effect is a faint tinge of 
 blue, which gives a delicacy to the white, and mingles with the pre- 
 vailing carnation. 
 
164 
 
 The effect of fatigue and strong action is to produce a feebleness 
 and swelling of the veins, which is thus explained. When the limbs 
 are at rest the returning blood is equally divided betwixt the superfi- 
 cial and the deep seated veins ; but when the muscles are in strong 
 and repeated action the deep veins are compressed, and the blood 
 must return in greater proportion by the superficial cutaneous 
 veins. Exercise, by accelerating the circulation too, and opening 
 the pores of the skin, relaxes the surface, and thus the veins 
 are allowed to dilate. This acceleration of the circulation gives 
 at the same time a higher colour to the whole surface. 
 
 In deep sleep, and especially after wine, the veins are turgid, and 
 the colour high. Virgil's description of Silenus, in the 6th Eclogue 
 is true to nature. 
 
 " Chromiset Mnasilus in antro 
 
 Silenum pueri somno videre jacentem, 
 Inflatum hesterno venas, ut semper, Jaccho.' 
 
 We must not fail to remark how the position alone affects the dis- 
 tension of the veinsi When the arm is raised above the head, and 
 remains so for a time, the veins become collapsed, and the surface 
 paler. Should the arm hang, or the veins be compressed, as in the 
 position of the arm of Hercules resting on his club, the veins swell, 
 and the colour is higher; for the same reason, that in a prisoner 
 bound with cords round the wrists, the benumbed and swelled 
 
165 
 
 hands of a dark red indicate the severity of the binding, and bear 
 some relation probably to the expression in the face. Plere the 
 arteries are not compressed because they he deep, and are vessels 
 of povveri'ul action, and therefore the blood has access to the 
 extremities : but as the veins are compressed, the return of 
 the blood is prevented, and hence the turgid appearance of the 
 hands. 
 
 We speak commonly of horror running through the veins, and of 
 horror congealing the blood. The sensation is in the nenes ; but 
 as the state of the veins is the visible accompaniment of horror per- 
 vading the limbs, it sanctions and accounts for the phrase. The 
 circulation is affected through the medium of the nerves. Those de- 
 pressing passions which induce a debility of the limbs are attended 
 with paleness of the surface. The blood forsakes the minute 
 vessels, and is accumulated at the centre ; and this is naturally ac- 
 companied with palpitation and irregular motion of the heart : or 
 perhaps it would be more correct to say, that the effect of passion is 
 to disorder the motion of the heart; and the consequence is, that the 
 blood is no longer carried with its usual velocity to the surface. The 
 surface is cold and shrinks, and a shudder is felt upon it like a breeze 
 of air. But again, when the heart is roused by passion to 
 irregular and violent action, it swells up with blood and beats 
 violently ; the lungs, being in strict sympathy with the heart, become 
 irregular and constrained in their action, and the blood rushino 
 violently to the surface, and being prevented from returning with 
 
166 
 
 freedom, the face and neck and arms are suffused with red. Some- 
 times too from this cause there is a very dark hvid colour in the 
 face. 
 
 It must further be observed, that in the face there is a pecuhar pro- 
 vision of nerves, which are entwined round the vessels, and give them 
 a susceptibility corresponding with the passions of the mind, which 
 the general surface does not possess. Hence the sudden blush, and 
 rapid change of colour upon slight emotions. To this greater 
 susceptibility of the head, as well as of the face, is to be attributed 
 the rising of the hair in almost every violent passion. 
 
 The skin itself deserves the attention of the artist, for it considerably 
 affects the character of the parts which it covers; the veins, the 
 bones, and the muscles. In a robust healthy child no veins are to 
 be seen; and for the same reason, the points of bone, and the 
 distinction of muscle and tendon are not perceived. In a child, 
 thou oh the surface is smooth and delicate, yet (as anatomists would 
 speak) the integuments are thick and strong; the fat lies chiefly on 
 the surface, and above those parts which in more mature age appear 
 prominent, and mark the character. The consequence of this is 
 apparent in the general form of children. They have their appro- 
 priate form and beauty ; but in reference to the more perfect state 
 of middle life, they are unformed, the head, joints, and limbs, and 
 even the hands and feet being round and unshapely. Such is 
 the appearance of children at the age at which they are commonly 
 
167 
 
 drawn and modelled : when it seems just doubtful whether they 
 might not be more secure on a broader base than their feet. 
 
 Women, like children, have the skin smooth, but the Umbs round, 
 polished, and pyramidal. This proceeds from the muscles being less 
 powerful, and the bones less prominent than in man, and from the 
 fat being in great proportion and filling up all inequalities. 
 Time makes its assault on this fair proportion, first b}' overloading 
 and taking the symmetry from the limbs, and finally by diminish- 
 ing the fat, so that the skin closes nearer to the bones. 
 
 The breathing and the motion of the chest are connected with the 
 circulation of the blood and the general state of the system. The 
 blood is by a peculiar system of vessels made to circulate through the 
 lungs, that it may be exposed to the air inhaled in breathing, and 
 imbibe that vital principle which is necessary to all the phenomena 
 of life. The existence of the animal has a closer dependance upon 
 this operation, than even on alimentary nourishment. And to secure 
 a strict correspondence between the heart and the lungs in this 
 essential and vital action, nature has established the most intimate 
 s5'mpathies betwixt them. When with violent action, as already 
 observed, the motion of the heart becomes irregular, the lungs 
 sympathize ; the diaphragm and throat are affected ; the voice is 
 choked or tremulous, and there is a sense of tightness of the chest 
 and of suffocation. 
 
168 
 
 The BONES and muscles form a chief object of study for the 
 artist. The bones support the soft parts, and protect the important 
 viscera : they give the form and height : they serve to distinguish 
 the pecuharities of age, and sex, and constitution, and of national 
 and family character. As without the support of the bones the 
 flesh would fall into a shapeless mass; as they are the levers on 
 which the muscles act, and without which they could not produce 
 the locomotion of the animal ; the proportions and the strength of 
 the body, the beauty of the form, the elegance and ease of the 
 motion, all depend upon the structure of the skeleton. The study 
 of it must therefore be of the last importance to the painter. 
 
 The muscles even still more than the bones should be studied. 
 They form the proper flesh of the body. They alone are capable 
 of contraction, in order to produce motion in the animal, and conse- 
 quently of variation of shape. An individual muscle consists of 
 these parts ; the proper muscle, or belly of the muscle, as it is called, 
 consists of bundles, or fasciculi, like lesser muscles connected tosre- 
 ther. When minutely examined these are seen to consist again of 
 smaller fibres, diminishing in size till the eye can no longer perceive 
 the threads. The fleshy and fibrous belly of the muscle is concen- 
 trated at each extremity into a dense and white tendon, which is 
 supposed to consist of the common membrane of the bod}'', strength- 
 ened to an amazing degree by this condensation. These tendons 
 are fixed into the bones. That tendon which is attached to the 
 fixed bone, is called the origin ; the other often heightened to a 
 
169 
 
 long cord, runs down the limb, and is implanted into some moveable, 
 part, as the bones of the wrist or fingers. The muscles are of an 
 infinite variety of form, especially those upon the trunk of the 
 body. In the limbs they are more regular, and the force of the 
 muscle is concentrated in general into a very small tendon, which 
 often takes its course in a sheath or groove of the bone, so as to have 
 its force applied according to the direction of its course. 
 
 The bellies of the muscles form the thick brawny part of the 
 limb ; whilst the tendons allow of a finer form towards the joints. 
 Other muscles spread large upon the chest, or cover and invest the 
 joints, as those of the hip and shoulder, giving the robust form to 
 the trunk. 
 
 The power of contraction in the muscular fibres is called the 
 irritability of the muscle, the most distinguishing phenomenon of life. 
 This irritability is renewed, or supported by the influence of the 
 circulation ; while the nerves, distributed equally with the blood 
 vessels to the substance of the muscle, convey the influence of the 
 will, and cause the contraction of the muscle. As the incessant 
 transmission of blood is necessary to the usual and moderate action 
 of the muscles, so is their exercise and encreased action attended 
 with an acceleration of the blood, and a prominent increase of 
 their vascularity. They assume a darker red, and become more 
 massy and prominent. 
 
 z 
 
170 
 
 The rigidity which appears in the action of the muscles is not 
 apparent only, but real. A muscle in death has but a weak cohesion 
 and is easily torn ; but during life and full contraction, it is almost 
 impossible to tear the muscle, so strong is the attraction of the mus- 
 cular fibre. 
 
 In violent action a muscle, it is said, has less sensibility; and by 
 exerting their muscles powerfully, jugglers suffer pins to be thrust 
 into their flesh ; but I believe the fact to be, that the muscle is little 
 sensible compared with the skin. It is certain, however, that in con- 
 traction the muscles will suffer blows and pressure without injury. 
 And thus we can explain the feat sometimes performed of breaking a 
 poker over the arm, by Avhich, without a strong action and prepara- 
 tion of the muscles, the arm bone would probably be fractured, and the 
 flesh bruised. A more extraordinary instance of the resisting power 
 in the muscles, during their contraction, was exhibited some years ago 
 in the streets of London, by a fellow who went by the name of 
 Leather Coat Jack. For a pot of porter he would lie down in the 
 street, and allow a carriage to pass over him. Jack having died, 
 was dissected in the theatre of Dr. W. Hunter, and the appearance of 
 muscular strength was extraordinary both in the form of the muscles, 
 and in the remarkable processes of the bones into which they were 
 inserted. It could not be the strength of bone which saved him 
 from being bruised in these exhibitions. I conceive the explanation 
 to be this; that being a man of great muscular strength, the power 
 
171 
 
 of habit enabled him to give such exertion to the muscles as not only 
 to defend the bones from being broken, but to save the muscles 
 themselves from being bruised by a weight, which, in a state of re- 
 laxation, would have crushed them to a jelly. We have all ex- 
 perienced the difference between a blow received unexpectedly, 
 and one received when on our guard. Even on the same place 
 of the body the effect will be very different. Boxers receive the 
 hardest blows Avithout injury. In consequence of the state of 
 preparation in which they hold themselves when about to receive 
 a blow, and the habit of sudden and powerful exertion of the 
 muscles, the opponent's fist is repelled as from a board. 
 
 Although nature should bestow the essential requisites of manly 
 beauty, yet without habitual and general exercise the form will be 
 impaired. The variety of bodily exercises to which the youth of 
 Greece and Rome were inured, must have been a chief cause of 
 their superiority in form. How the handicraft trades disfigure the 
 body, and distort it from its fair proportions, every one must 
 have observed. Persons in that condition are distinguished by 
 an aukward gait, and habits and postures remote fi-om nature or 
 elegance. 
 
 In one of our most celebrated public dancere we see the power of 
 exercise in giving an elegant and vigorous character to the thigh and 
 leg, while the arms seem to me disproportionately Aveak, injuring 
 the effect of the whole figure. I have somewhere seen it remarked, 
 that the over exercise of one part draws the nourishment from the 
 
172 
 
 others; but in these instances there is not an actual diminution of the 
 unexercised limbs, but only a comparative feebleness when contrasted 
 with those limbs, which, being in continual action, have acquired a 
 more vigorous circulation and actual increase of muscular strength. 
 As the limbs increase in power and action, their motion becomes 
 more expressive from the play of the muscles being more appa- 
 rent. 
 
 Violence of gesticulation is indelicate, if not unnatural, in females, 
 and detracts from their beauty. This strikes us strongly in the necks 
 and limbs of opera dancers. That which is beauty in a young man, 
 is deformity in a female. The nymph-like lightness* of a female 
 dancer, which so much charms the eye at a distance, loses much of 
 its grace and beauty, when, the figure advancing, the movements are 
 perceived to be accomplished with violent straining and muscular 
 action. This soon must destroy the natural beauty and symmetry 
 peculiar to the female form. 
 
 Rubens, in his theory of the human figure, makes the cube or square 
 the element, as he calls it, of the manly form of the hero and athletic f. 
 
 * Milton never loses sight of this feminine lightness and elegance in his descrip- 
 tion of Eve; he paints her 
 
 " Like a wood-nymph light. 
 Oread or Dryad, or of Delia's train." 
 
 f Proceeding on the words of Quinctdian : Ex cubo, sive figura ab omni latere 
 quadrata, fit omne niasculum aut virile, et quicquid grave, forte, robustum, com- 
 pactum, et athleticum est: et quicquid formae quadrati detraxeris, amplitudini quoque 
 peribet. Quinct. Lib. L c. 10. 
 
173 
 
 The fact must, I think, be acknowledged, that in the general form, in 
 the outline of the particular parts, and in the usual and natural atti- 
 tudes of a strong man, there is a certain squareness and abruptness; 
 that the outline is not flowing, but interrupted by the prominent 
 processes of the bones, the distinction of muscle and tendon, and the 
 crossing of the veins. This character is particularly evident when 
 he is in powerful exertion * ; for though during perfect rest and 
 quietude there prevails a softer outline, with a more uniform sweep 
 of the whole figure, in the instant of alarm and exertion the body and 
 hmbs become more squared and angular in their position, and the 
 outline more rugged and abrupt. 
 
 In woman, on the other hand, the prevailing outline is soft and un- 
 dulating. In the entire figure, in the form of the parts, in the attitude 
 and expression, there is nothing irregular, harsh, or abrupt. Rubens 
 says (with Plato and Cicero f) that the circle prevails in the form 
 
 * Le cube ct le qnarre s^ont, comme on 1' a deja dit, les clcmens piiinitifs de tout 
 ce qui a de 1' ctendue da'.is le corps liumain. Le triangle et la pyramide y president, 
 depuis les epaules jusqu' a la plante des pieds, ainsi qu' on 1' a remarqu6 ci-devant, 
 en parlant de la proportion el^mentaire. On voit en effet que, dans la figure humanie, 
 toutes les parties superieures sont plus amples et plus largcs, et qu'elles finissent en 
 diminuant vers les extrSmites. Ainsi la forme pyramidale dominc dans la figure de V 
 homme; et la cubique dans ses mouvemens ; car ce n'est pas le meme pnncipe qui 
 
 preside a ses actions et aux formes de sa figure. 
 
 Theorie de la Figure humatne. 
 
 t Ex circulo, sive globe perfecto, fit omne foemineum ac muliebre, et quidquid 
 sarnosum, torosum, flexum, tortum, curvatum, et incurvum est. Hac formam uUuin 
 
 neo-at esse pulchriorem Plato. 
 ° Cicero de Natura Deorom. 
 
174 
 
 of woman, I should rather say, that in the feminine form the gentle 
 curve prevails, the undulating line, the easy and insensible swell: 
 and that if these mathematical figures are to be resorted to, I should 
 assign the circle to the form of childhood, for in children there is a 
 general fullness, and prominence, and roundness, not only of the 
 head and joints from the structure of the bones, but in the breast, 
 belly, arms, and thighs. 
 
 But to return to the subject of the muscles : as in mechanics, 
 velocit}^ and weight are equivalent, so the human body may 
 be characterized either by such a form as indicates activity, velocity, 
 and vigorous exertion, or by a huge bulk, incumbered as it were 
 with its own strength, and indicating a body slow of motion, but of 
 which the arm Avould fall heavy and decisive. A young warrior, 
 whose arms are the buckler and sword, should be drawn according 
 to the first of these conceptions. Such for example is the fighting 
 Gladiator, dexterous to avoid his adversary's blow, and with quick 
 resiliency and rapid turns regaining his firm footing to return the 
 stroke. 
 
 Hie ictum venientem a vertice velox 
 
 Pr8evidLt,celerique elapsus corpore cessit. 
 
 iENEID. V. 444. 
 
 Thus we are led in sketches to adapt the kind of arms to 
 the proportions of the body and the degree and kind of strength. 
 When the poet describes the power of a giant, or a cyclops. 
 
175 
 
 (" monstrum horrendum, informe, ingens") the painter pourtrays a 
 clumsy strength and unwieldy bulk « with the might of gravitation 
 blest," or at least devoid of the energy and activity of the youthful 
 warrior. Such, according to Rubens, are, among the remains of 
 antiquity, the River Gods, and Commodus in the character of 
 Hercules. 
 
 The character of the two species of strength is well exemplitied in 
 Dares and Entellus. 
 
 Ille pedum melior motu, fretusque juventa ; 
 Hie membris et mole valens : sed tarda tremcnti 
 Genua labant: vastos quatitseger anhelitus artus, 
 
 jEneid, V. 430. 
 
 Or again : 
 
 Entellus vires in ventum effudit : et ultro 
 
 Ipse gravis, graviterque ad terram pondere vasto 
 
 Concidit. 
 
 The ideal form of Hercules is the personification of the highest 
 degree of power with every possible or consistent mark of activity. 
 The form of Hercules is not directly taken from natural appearance, 
 but as if by inference and upon theory. The head and limbs are 
 small; the neck, trunk, and shoulders, preternaturally large and 
 strong; the muscles moving the limbs are powerful; the parts 
 moved light. But the idea of power is not more impressed upon u^ 
 
176 
 
 by the general form, than by the appearance of the individual 
 muscles. They have a sharpness and prominence which could be 
 acquired only by exercise and continual exertion. Indolence and 
 inactivity are remote from the idea suggested by the contemplation 
 of the Farnese Hercules. 
 
 The painter must imitate the elevation of language by which the 
 poet prepares the mind. In historical or poetical painting there 
 must be nothing vulgar in the proportions, or gait, or attitude of his 
 figures, else he will fail to produce that elevation of sentiment which 
 is a necessary prelude to all feeling of interest in the otherwise 
 improbable fictions of antiquity. A form must be delineated with 
 which we associate powerful energy of mind, as well as of body, 
 and in this the painter must well examine the extent of his own 
 powers, as lie is, equally with the poet, liable to run into bombast 
 and extravagance. 
 
 The approach of old age gives another distinction of muscular ex- 
 ertion. In the Laocoon, for example, we have a muscular figure, and 
 much anatomical expression, but it is the powerful exertion of a man 
 advanced in life, whose functions as a priest give no presumption of 
 the acquisition of great bodily power. It bears no relation to either 
 of the characteristic forms of human strength. 
 
 'O^ 
 
 In the following passage, in which Pliny describes his favourite 
 statue, the marks of old age are very correct : 
 
177 
 
 " Effingit senem stantem ; ossa, musculi, nervi, venae, ruga? etiam 
 ut spirantis apparent : rari et cedentes capilli, lata frons, contracta 
 facies, exile collum; pendent lacerti, papillae jacent, recessit venter. 
 A tergo quoque eadem «tas, ut a tergo, aesipsum quantum verus 
 color indicat vetus et antiquum. Talia denique omnia ut possint 
 artificum oculos tenere, delectare imperitorum." 
 
 The study of character and expression, as exhibited in the body 
 and limbs, is perhaps more difficult than that of the traits of the 
 passions as exhibited in the countenance. The sublime effects 
 produced in the marble, by the expression of the form and attitude 
 alone, strongly prove the superiority of this corporeal expression. 
 
 Corporeal expressionhas a wide range, from the graceful inclination 
 of the head and neck of the Apollo, to the convulsive struggle of the 
 Laocoon. This is the operation of the mind on the body. To 
 bestow grace and propriety of action on the figure, pre-supposes a 
 deep knowledge of the workings of passion; while the difficulty of 
 execution, however justly the idea may be conceived, makes this 
 the highest department of the art of painting. 
 
 The study of the action of the figure admits of a natural division ; 
 first, of motion and exertion simply; and secondly, of the effects of 
 sentiment and passion. The knowledge of the fonuer is necessary in 
 order to paint the figure with correctness ; to poise it on the centre ; 
 to bestow just attitude ; and truly to express the exertion of the limbs 
 
 A A 
 
178 
 
 in loco-raotion, and the common exercise of the body. The second 
 belongs more to the province of genius — with invention and deep 
 observation of human character, must be combined judgment and 
 correct taste, in order to make the mind apparent in the body (" in 
 corpore vultus"), and to preserve the peculiarity of character, and all 
 the grace and propriety of action *. 
 
 It is this emanation of the mind inspiring the features, and giving 
 grace to the action which produces the enchanting effect in painting. 
 And if there be such a thing as pleasure arising fi-om mere form 
 without exjiression and character, which I much doubt, it is a 
 pleasure which must be very transient. In every possible condition 
 and state of existence there is a certain character to be given to the 
 body. It is ahve or dead; still or in motion; it has the spirit and 
 
 * There cannot be a better illustration how much a creative genius, both in 
 painting and poetry, is required to produce this effect of mind on the body, than to 
 contemplate the idea excited by the following description : 
 
 After the Duke his father with the knife, — 
 He stretched him, and with one hand on's dagger, 
 ylnother spread on's breast, viounting his eyes, 
 He did discharge a horrible oath, whose tenor 
 Was, were he evil-us'd, he would out go 
 His father by so much as a performance 
 Does an irresolute act. 
 
 King Henry VIII. 
 
 We hare here the picture of the mind wound up to deliberate denouncing of 
 
179 
 
 buoyant spring of youth, the massiness of manly strength, the 
 grace and elegance of female beauty, or the cautious timidity and 
 constrained motions and postures of old age, legibly impressed on the 
 whole figure, and prescribing every motion and position of the body. 
 In the dignity which becomes the higher strains of composition, the 
 movements and expressions of the body are expressive, but dig- 
 nified ; in the lower scenes of farce and caricature the peculiar 
 habits, and motions, and postures of familiar life and mechanical 
 occupation are as distinct and legible, and the neglect of these appro- 
 priate signs are great defects in an artist*. In this difficult study 
 the painter must have recourse to nature, that he may have her 
 habits and genuine language -j-; rules and descriptions can do little 
 for him. Further than in the mere correctness of drawing, this subject 
 has no intimate reference to anatomy, and therefore I shall not 
 enter at large into this extensive enquiry, but confine myself to a 
 few hints concerning beauty as depending on expression, and con- 
 cerning the distinction between the form and position of the body 
 in sleep and in death. 
 
 I would premise however, with regard to position in general, that 
 considered independently of any particular expression, the figure 
 
 * It is one of the things told of the famous Prince of Conde, that he was very expert 
 in this sort of physiognomy, and would sometimes lay wagers with his friends, that 
 he would guess, upon the Pont Ncuf, what trade persons were of that passed by, from 
 their walk and air. 
 
 t See Mr. Fuseli's third Lecture. 
 
180 
 
 will not stand elegantly, unless it is made to rest more on one leg 
 than on the other — first, because it is natural; and, secondly, 
 because the body in this posture assumes a more varied and elegant 
 outline. It is a natural posture, because, however strange at first 
 sight it may appear, the body is not at rest when it stands equally 
 on both legs ; to keep it so there must be an unpleasant tension of 
 the muscles of the body and limbs. When the body rests on one foot, 
 and the trunk is poised so as to relieve the muscles of the other side, 
 and throw the other foot unconstrained, the line of beauty into 
 which the figure falls is elegant and agreeable ; perhaps because it 
 conveys to the mind an idea of a natural and unconstrained position, 
 as well as from the pleasing contrast of the limbs*. 
 
 * Certain positions of the body and limbs, I have been accustomed to say to my 
 pupils, when the academy figure stood before us, we universally acknowledge to be 
 elegant ; let us inquire if all these attitudes be not natural ones, and if they do not 
 result from the structure of the limbs. 
 
 The man stands with both feet firm to the ground, and we see that there is a 
 certain tension and squareness over the whole body ; but in this position there is no 
 muscle at rest ; it is not a position of ease ; we know that there is a restraint upon 
 the whole body, and that the bones are universally braced by the action of the 
 muscles. Observe, then, how he seeks relief; he throws the weight of the body on 
 one leg, the other has a position of ease and relaxation ; the effect of this is a varied 
 outline through the whole figure : all the limbs are in contrast ; and the muscles, 
 which on one side are relaxed, on the other side are in action. Our minds are 
 satisfied that this is a position of ease, and perfectly natural ; we feel it to be elegant; 
 and it only remains for you to determine whether this elegance results from the con- 
 trast of the limbs, or from a conviction that it is a position of rest and ease ; or, in 
 other words, of its being natural. 
 
181 
 
 In the posture of the body and limbs, in the inclination of the 
 head and neck, that is, in the whole attitude of the figure, the 
 elevation or depression of the mind is indicated. The elevation of 
 thought is pourtrayed in dignity of demeanour, as mildness and 
 amenity, pride and insolence, suspicion and fear, are displayed m 
 corresponding expressions of the body. These ideas of mind enter 
 unconsciously into all our conceptions of the beauty of form, as well 
 as of the propriety and correctness of action. From the philosopher 
 to the peasant, no idea can be formed of life unconnected with 
 motion; and the forms of man and of other animals have, in our 
 judgments, a secret relation to their capacity for motion; nay 
 further, our conceptions of the human figure are never unconnected 
 with the conviction of superior intelligence ; and the idea of motion 
 and of expression is inseparably combined with the idea of the form 
 of man. 
 
 Beauty is consistent with an infinite variety of forms ; and this 
 alone appears sufficient to convince us that its cause and origin is to 
 be found in some quality capable of varying and accommodating itself, 
 which can attach to different forms, and still operate through every 
 change. This quality I conceive to be expression ; and although 
 it may be said that beauty is chiefly excellent where there is observed 
 no character of passion; yet in these cases the form we admire is 
 calculated for expression, and has in our secret thoughts a relation to 
 the qualities of mind. The lover sees in the features which he doats 
 
182 
 
 upon, a tenderness of sentiment ; he imagines delicate attractions, en- 
 gaging endearments, and all the blandishments and lovely qualities 
 of mind which the fondest fancy can conceive. When we discover 
 that all the qualities which we have attributed to the object of our 
 admiration are deceitful illusions, and that the susceptibility of mind 
 which we had imagined to be reflected in the face, and indicated in 
 the graceful movements of the body, has no existence, love and 
 admiration rapidly subside ; and if we are still forced to acknow- 
 ledge the beauty of the features, they affect us as the beauty of a 
 statue which has a certain relation and association with the feelings 
 which have grown up from our more general experience. 
 
 In a child the bloom and freshness, the smooth and rounded form, 
 and even the limited power of expression, accord in our conception 
 with the naivete and ingenuous simplicity of mind. In a girl 
 Ave associate with the form a gentleness and elegant simplicity in 
 every motion. The beauty we admire is the capacity for that 
 expression ; and the view of the expression itself conveys to our 
 minds the idea of the more amiable and feminine sentiments. 
 
 Why do we so much admire the beauty of the Antinous? 
 Because, although there is no gesticulation, there is still no want of 
 expression; on the contrary, there is a voluptuous languor which 
 seems to pervade the whole figure, and which is in strict unison 
 with the sensation the artist wished to communicate. If we 
 
183 
 
 compare this figure with the repose of Hercules, we shall recognize 
 in it the enervating effect of pleasure, instead of lassitude after labour. 
 
 We assimilate beauty with the form of that age and sex in 
 which the mind is most susceptible of pleasure; for nature has 
 there established powers of expression adapted to the prevailing 
 character of the mhid ; but the perfection of manhood is when 
 the form is matured, though it has become more rugged and full of 
 character, and when the higher passions and sentiments prevail. 
 The form no longer corresponds with that voluptuous expression and 
 languor, the concomitant of pleasure, and in the air and carriage 
 there is more of dignity than of grace. 
 
 In Sleep* there is, perhaps, an appropriate attitude; but every 
 limb is at rest ; and such an attitude as indicates entire repose and 
 relaxation is the natural characteristic of sleep. When a fine lady 
 throws herself upon the sofa in elegant relaxation, she can preserve 
 while awake the grace of her attitude ; but when sleep actually 
 visits her, the wrist falls loose, the arms gravitate into an easy half- 
 bended position, the legs are drawn up, and nature overcomes 
 affectation. The cause is this: when the Umbs are stretched, the 
 extending muscles are in contraction, and the bending muscles 
 drawn out ; it is not therefore a position of ease and perfect relaxa- 
 tion. If intention, or habit, does not prevent the natural equipoise 
 
 * Dulcis et alta quies placidseque simillima morti. ^neid. V. 522. 
 
184 
 
 of muscular contraction, the joints will in sleep be relaxed, and the 
 limbs nearly half-bent. Perhaps another cause may be assigned for 
 the posture of very sound repose. As the exhaustion of muscular 
 power, in consequence of exercise, leads to an increase of the 
 velocity of the circulation, in order to supply the wants of the system, 
 and as the action of the arteries and veins is least interrupted while 
 the limbs are stretched, we should expect that an animal exhausted 
 by exercise should take a posture different from that of which we 
 have been speaking. On the contrary, as the full torrent of the 
 circulation is not requisite for the little waste of muscular power after 
 rest, it is natural that, when the system is a little recruited, there 
 should be a kind of check and interruption to the velocity of the 
 circulation in the bending of the limbs. Observe a dog returned 
 fi'om the chase : he tumbles down quite resolved and stretched out 
 upon his side ; he slumbers for a little; but when he has somewhat 
 recovered himself, he draws up his legs, coils himself into a circle, 
 and falls into sound sleep. So hibernating animals, Avhen found in 
 their cells, are coiled up and pressed together. Such also is the 
 position of the child in the womb. 
 
 However unsatisfactory these reasons may be, observation will 
 convince us that there is rather a drawing together of the body and 
 limbs in deep sleep, unless where mere gravitation stretches the legs, 
 .or where the posture of the sleeper prevents it. 
 
 In sleep, the features are full though relaxed, not shrunk as in 
 death; and the expression of dewy temples, and dewy sleep, suffi- 
 
185 
 
 ciently indicates that full and regular state of the cri'culation, which 
 gives to the features a form and colour quite the reverse of 
 death. 
 
 In Death, the body is heavier; that is, the position of the limbs is 
 more under the influence of mere gravitation, and the solid manner 
 in which they lie, conveys that idea. Rubens has given some very 
 rude sketches, to show that the elemental form of death is the straidit 
 line. The first effect of death is relaxation, but the second effect is 
 stiffness and rigidity. Now it is this rigidity which insensibl}^ 
 makes part of our prevailing idea of the characteristic form; and if 
 the body be then moved, this rigidity produces the effect, which 
 Rubens has had impressed upon his mind, of the prevalence of 
 the straight line. 
 
 But independently of this straightness and rigidity, there is a dis- 
 tinction between sleep and death, m posture as well as in colour and 
 feature. In sleep there is a certain regard to convenience, and a 
 uniform and gentle curve or flexure of the limbs; while in death 
 there is entire reference in the position to the ground on which the 
 bodv is laid. The character is most distinctly marked therefore by 
 the position of the head and neck. 
 
 -lentaque colla 
 
 Et captum letho posuit caput arnia relinquens. 
 
 .^NEID. XI. 830. 
 
 B B 
 
186 
 
 Much of the character of death, as contrasted with sleep, is in the 
 colour. The blood having left the surface, the skin shrinks, the 
 features are sharp, and the blood dissolving, gives faint tinges through 
 the gradation of black, blue, lake, faint yellow, and green. The 
 general character however is ashy paleness. 
 
 THE END. 
 
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WORK S, 
 
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