reason of a very striking coincidence in the features of expressionthe rolling upwards or elevation of the eyeball in all powerful emotions of the mind, during which the respiratory organs suffer disturbance; in that agony which is shown by sighing or deep inspiration, by a certain modification of the lips, and expansion of the nostrils: whether it comes from pain of body or mental suffering, the pupils of the eyes are raised and half obscured by the eyelids.

This sometimes imposes the necessity of a certain position of the head; for to direct the eye downwards at the time that the agony experienced tends to drag it upwards, are inconsistent conditions of the muscular system of the eye. In bodily pain, as well as in certain conditions of mental suffering, the eye is directed upwards, and therefore the natural position of the head is forwards. During a lecture I sketched these outlines with chalk to illustrate this fact; and, however faulty, I could not improve them. The engraver has transferred them to the margin.

The muscles which turn up the eyeball under the upper eyelid during sleep being involuntary muscles, they prevail whenever the voluntary muscles are enfeebled or relaxed. This is the reason that during the influence of depressing passion, as for example grief, when the body and limbs are flung relaxed, the pupil is raised at the same time that the eyelid hangs low. We see this in some fine heads of the Magdalen, a favourite study of the old painters, where the eyelids are livid and swollen with weeping, and the eye, still

swimming in tears, is half raised and concealed; and if an object be then contemplated, the face is inclined forwards, and the heavy eyelid is raised to accommodate the position of the pupil, which is elevated by the influence of the prevailing passion.

EXPLANATION

OF

PLATE III.

OF THE MUSCLES OF THE FACE OF BRUTES.

THE head of a dog is taken to show the muscular apparatus of carnivorous animals.

A. A. The circular fibres, which surround the eyelids, and which are common to all animals.

B. C. D. Accessary muscles, which I have called SCINTILLANTES, as they draw back the eyelids from 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 possessed by brutes. When the lion closes his