eyes in repose, the fleshiness about the eyelids and the hair of the
skin produces an appearance similar to the morose human expression,
but when he is excited, and the eye strains wide, there is no such
character.
F. G. H. MUSCLE8 OF THE E ar.
i . k . The mass of muscular fibres, which is always the strongest in
this class of animals, and which with those concealed under
them, I call R in g en t es. These are the snarling muscles; they
raise and expose the teeth with the savage expression peculiar
to this class of animals.
l . The muscles which move the nostril in smelling.
m. The circular fibres of the mouth, which yet do not make a
perfect o r b ic u l a r m u s c l e .
n . A muscle w hich answers to th e Z ygomaticus in man, and which
must have great power in this animal, as it reaches from the
ear to the angle of the mouth. It opens the mouth, retracts
the lips, and disengages them from the teeth, as in seizing their
prey.
o. The Cutaneous M uscle, which sends up a web of fibres from
the neck upon the side of the face. These fibres are much
stronger than in man.
I observed above that some painters have thought it allowable
to give human expression to the heads of lions, and others have
presented human character in their heads of horses. I conceive
this to be done upon a mistaken principle, nor will it ever enhance
the peculiar beauty of the animal to engraft upon it some part of
human expression. Rubens, in his picture of Daniel in the lion’s
den, has given human expression to the heads of the lions. Notwithstanding,
it appears to me more than doubtful, whether the
mingling of human expression with the features of the savage
animals be in the true spirit of that principle of association, which
should govern the adaptation of expression and character in producing
an ideal form.. However this may be determined, there
seems to me a distinction to be preserved when the lion is represented
in its natural state, and when sculptured emblematically.
Represented in his den,- or in the forest, the picture should possess
all the natural character; a difference may be made when he is
couched amidst the insignia of empire.
A horse’s head is added to this section in illustration. It is taken
from Julio Romano; and we find that in representing the horse he
has produced an ideal head. We say that it is a horse rather because
there is a bridle in the mouth than because we recognise the natural
character of that animal. Instead of the full clear eye standing
prominent upon the temple, we see an eye sunk deep, with an overhanging
eyebrow; the character entirely human, and the expression
thoughtful and suspicious. In the hair of the forehead, and in the
ears, in the roundness of the head and neck, the artist has preferred
the model of the antique to what, in this instance, we must consider
to be the finer forms of nature. We have here the nostrils of the