combined in expression; hence the union of that upward direction of the extremity 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 expressive of human passions are produced in joy, hope, admiration, anxiety, 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.

It is curious to observe how the muscles, by producing distinct expression, afford a new occasion of distinguishing the tribes of animals and how as signs of superior intelligence, they become proofs of the higher endowments of man, and a demonstration of the peculiar frame and excellence of his nature.

As the inquiry 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 incongruous and incompatible; it produces unpleasing associations, and degrades the character as being inconsistent with the expression of that intellect which must always form part of the idea communicated by human physiognomy. So it is also with individual features, and with their motions or expressions. Wherever the imagination catches an idea of brutal character in the eye, nose, lips, teeth, or ears, by reminding us of animal expression, it 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 treated of in another essay. But there is at least one part of the character of human beauty, of which we may here take notice, namely, that which is founded on the capacity for expression.

This capacity for 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 as we see it in sculpture or in painting. Even when unexercised and in the calmest scenes of life, that capacity of energy and exertion which indicates a great mind susceptible of emotion, strikes the spectator with more admiration than the finest inanimate form of features. How fas

cinating when compared with the insipid prettiness of an inanimate beauty is that susceptibility which occasionally 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 of capacity, 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, even while no prevailing passion gives a cast to the features. But a great portion of the beauty of the human face is in the nose and the mouth; in a nostril which has the full capacity for expression, without being too membraneous and inflatable, 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 is necessary to speech and the indication of human emotion.

The French naturalists made a great mistake when they concluded that the nose and mouth belonged to our inferior nature. They are the organs of the noblest and most distinguishing faculties of our nature, speech and expression. Those features are perfect, and become features of great beauty when they are developed and capable of language and expression in contradistinction to the mere office of eating or smelling.

Let us begin our observations on the play of the features by observing the character of broad laughter; for if we cannot comprehend or explain what takes place in this extreme of expression we shall in vain attempt the rationale of the more refined and gentler emotions as exhibited in the countenance. In laughing it is in vain that we attempt to confine or purse the lips: a complete relaxation of the orbicular muscle of the mouth gives an uncontrolled power to the opponent muscles, to those which concentrate

to the angle of the mouth and the upper lip. Hence the lateral drawing of the lips, the elevation of the upper lip disclosing the teeth, the very peculiar elevation of the nostrils without their being expanded (for we breathe only through the mouth in laughing); hence too the dimple in the cheek, where the acting muscles congregate; and hence the fulness of the cheek, rising so as to conceal the eye and throw wrinkles about the lower eyelids and the temples, whilst the skin of the chin is drawn tight by the retraction of the cheeks and the opening of the jaws. Thus it is obvious that the whole moveable features are raised upwards. The orbicular muscles of the eyelids do not partake of the relaxation of the mouth; they are excited so as to contract the eyelids and sink the eye, whilst the struggle of a voluntary effort of the muscles to open the eyelids and raise the eyebrow gives a twinkle to the eye and a peculiar obliquity to the eyebrow, the outer part of it being most elevated.

I have stated that it is the nerve I call respiratory which produces all this extended influence upon the features, and that with the loss of the power of that nerve there is a total extinction of this expression. We have a confirmation of this in witnessing the further influence of the passion in agitating the whole extent of the respiratory nerves and muscles. He holds his sides to control the contractions of the muscles of the ribs. The diaphragm is violently shaken. The same influence spreads to the throat, and