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 óf 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 havé 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 fasl
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