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 sensibility 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 human face, and for which I have been ablė 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 contempt, 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." PP. 94.96. The expression of the corrugator supercilii, we conceive to be no more unaccountable" than any other, but perfectly referable to the principle of association. Why this knitting of the brows accompanies the workings of mind, may perhaps be less easy of explanation. If we had been giving our opinion to Mr. B. we should have advised a different introductory arrangement of the passions, from that which he has adopted, if indeed it can be called an arrangement. Having marked certain points of comparison with animals, and shewn the actions of those muscles which express animal sensations, as fear, anger, &c, he should, in reference to man, have first considered and explained this lower class of sensations, with the muscles which express them; and afterwards investigated those passions, which, being exclusively human, engage the peculiar muscles of the human countenance in expressing them. Veneration, affection, compassion, devotion, with all that denote hilarity-these are objects of great interest to a painter, and what he must study. We should, moreover, have been pleased to meet with remarks on some of those anomalous, if not unaccountable expressions, which are the result of habit, and with which Mr. B.'s extensive and acute observation of human physiognomy must have rendered him familiar. Mr. B. has unwarily omitted all mention of the muscles which move the eye-ball: all notice of the expansion and con ear. * The expanded muscle of the skull in brutes is reflected off to the traction of the iris, and the different situations which the pupil assumes by the rolling of the ball, in different passionsA professor could have told him that "the mouth and cheeks may bellow their hearts out, without realizing expression; unless supported by the activity of the eye-ball." He has also omitted whatever relates to the ear; we do not perceive that he has so much as mentioned this feature; and yet, no doubt, in its natural state, this member is of importance. If ever, (which we do not admit), there was a time, When wild in woods the noble savage ran, he must have trusted to his ear for much information. We believe also that in animals, the horse especially, this or. gan is the seat of expression; at least, we have seen a horse's ears ask all manner of questions, why's and wherefore's; and announce his apprehensions very explicitly. In his sixth Essay, Mr. B. proceeds to consider the different effect of passion on the muscles of the face; placing first the painful, and afterwards the pleasing sensations. The painful, he considers as active efforts of the muscles, the other, as quiescences, or relaxations. We doubt, however, whether this be strictly correct, we rather think, that, as all muscles have their antagonists, when one set ceases to act, the opponents augment their activity, like double sets of springs, opposing each other; their actions may be exactly counterbalanced, but when either gives way, the other prevails. The plates are means of illustration to our Author's reasoning, which we cannot transcribe: he has also appealed to classical poets for descriptions, especially of heroes in the agonies of death, a very interesting addition to his work, as well as one proof, among many, that he has studied the subject with attention. The violent passions mark themselves so distinctly on the counte pance both of man, and of animals, that we 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 asserted, that it is by experience alone that he distinguishes the signs of the passions; that we learn, while infants, to consider smiles as expressions of kindness, because they are accompanied by acts of beneficence, 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 itself, it is said, what have been called the external signs of passion are merely the concomitants of those voluntary movements, which the passion or habits suggest; that the glare of the lion's eye, for example, is the consequence of a voluntary exertion to see his prey more clearlyhis 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 by anatomical investigation, all that I shall venture to affirm is this, that a remarkable difference is to be found between the anatomy and range of expression in man and in animals: That in the former, there seems to be a systematic provision for that mode of communication and that natural 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 appropriate 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 animals' passions.' pp. 84. 85. Of 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 resentments 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 movements 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 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 the 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 life. pp. 87.88. : What Mr. Bell has observed on the countenance, in the antique, should also have been observed on the body and members. Every part which predominates in the less elevated expressions of humanity, in those which mark the ferocious passions of our nature, is dismissed, and the whole is reduced to such proportions, as, if a deity did descend to earth in mortal shape, he would be most likely to assume. This, however, is regulated by character: we speak of the Apollo. But it is well known, that this figure was composed for a particular station; one of his legs is too long by nearly the length of the toes; yet in certain aspects this is not seen. The same remark we may apply to the Hercules, the anatomy of whose shoulders and back is very slovenly: no doubt, those parts were originally out of sight. We cannot render this purifying process more sensible to our readers, than by requesting them, when opportunity serves, to compare the dancing Faun with the Apollo: as figures, they may dispute the palm of merit, but it will soon appear to a considerate eye, that one is intended for an inhabitant of the earth, the other of heaven. If, in reverting from this improving principle, we trace character in its descending gradations, we find the ancients no less skilful in combining bestial forms with the human, than in disengaging the human form from the association of bestial peculiarities. We have seen a remarkable instance of this perfection in a head of Jupiter Ammon, where the ramlike physiognomy was not restricted to the effect of the horns on the head of the deity, but was blended throughout the countenance with great adroitness. We might also appeal to several statues of Pan, which are not marked by goat's legs only, but by a character of the upper members and of the visage, which could appertain to no other than this capriform deity. In beings of such classes, and where the fancy was unrestrained, the ancients are confessedly our superiors: of which one cause, no doubt, may be found in this very freedom from restraint. Another is hinted at, though not for this purpose, by Mr. Bell, in their general study of animal as well as human forms. Passing these subjects, in which are many judicious obser vations, mingled with others which we think rather imperfect than erroneous, we proceed to what Mr. B. has communicated on the subject of expression in the figure at large. He has not thought proper to trace the effects of passion on any individual muscle of the body: or to inform us whe ther a muscle is relaxed or inflated, when suffering pain, or pleasure. He has, of consequence, omitted one of the noblest and most important branches of art. Though we never could, with Winkelman, determine the exact course of the serpent's venom down the thigh of Laocoon, yet we have often admired the expression in his legs and feet; and the struggling grasp of his very toes; his (antique) hand also clasps with wonderful energy. The muscles of his breast are capital in stances of expression, and are entitled to unqualified praise. An instance of a very different expression is the Dying Gladiator: the blood is drained from this figure, from his body especially; less, though considerably, from his legs, which have lost all their strength; and if any power of life remains, it is in his upper parts, where the expression of dying firmness was necessary to interest the spectator. We cannot help alluding also to a small yet beautiful figure of Hercules strangling the lion, which is among the Arundelian marbles at Oxford, wherein the expression proper to the muscle runs throughout the figure, to the very extremity of its toes. An accurate knowledge of the course of the muscles, and of the variations they suffer, as the person is differently affected, is of the utmost importance to art. Had Hogarth possessed this, he never would have twisted a muscle round a bone: nor would an eminent living artist have made a boatman pushing against water, as if it were a solid body,-though we allow that such was the appearance of his model. An ingenious Frenchman has lately published a denudation of the Fighting Gladiator, to the very skeleton, for the use of artists: we should be highly gratified if Mr. B. would do the same for the Laocoon, which would afford him much superior opportunities of investigating muscular expression. The action of this figure will be found, upon reflection, superior to that of the other: the character is more digni fied, and, adopting the uplifted arin, the attitude is at least equally varied. We believe, that of the number of muscles which play, visibly, on the surface of the body, (ninety-six if we mistake not) nearly as many are shewn in the Laocoon as in the Gladiator. The Glute are the only parts which need to be concealed; and they may be mostly exhibited under proper management. Our author has paid particular attention to the working of the passions; and having, in the course of his profession, had frequent opportunities of seeing them combined with disease, he may be considered as a better judge of the truth of their external appearances than most artists are. In fact, the various and universal nature of art exacts from the mind and the hand of an artist, such a general and yet intimate acquaintance with nature, in every form, situation, and combination, that few have either powers or opportunities sufficient to |