Introduction

MANY works have been written on Expression, but a greater number on Physiognomy,--that is, on the recognition of character through the study of the permanent form of the features. With this latter subject I am not here concerned. The older treatises,[1] which I have consulted, have been of little or no service to me. The famous 'Conferences'[2] of the painter Le Brun, published in 1667, is the best known ancient work, and contains some good remarks. Another somewhat old essay, namely, the 'Discours,' delivered 1774-1782, by the well-known Dutch anatomist Camper,[3] can hardly be considered as having made any marked advance in the subject. The following works, on the contrary, deserve the fullest consideration.

Sir Charles Bell, so illustrious for his discoveries in physiology, published in 1806 the first edition, and in

[1] J. Parsons, in his paper in the Appendix to the 'Philosophical Transactions' for 1746, p. 41, gives a list of forty-one old authors who have written on Expression.

[2] Conferences sur l'expression des differents Caracteres des Passions.' Paris, 4to, 1667. I always quote from the republication of the 'Conferences' in the edition of Lavater, by Moreau, which appeared in 1820, as given in vol. ix. p. 257.

[3] 'Discours par Pierre Camper sur le moyen de representer les diverses passions,' &c. 1792. 1844 the third edition of his 'Anatomy and Philosophy of Expression.'[4] He may with justice be said, not only to have laid the foundations of the subject as a branch of science, but to have built up a noble structure. His work is in every way deeply interesting; it includes graphic descriptions of the various emotions, and is admirably illustrated. It is generally admitted that his service consists chiefly in having shown the intimate relation which exists between the movements of expression and those of respiration. One of the most important points, small as it may at first appear, is that the muscles round the eyes are involuntarily contracted during violent expiratory efforts, in order to protect these delicate organs from the pressure of the blood. This fact, which has been fully investigated for me with the greatest kindness by Professors Donders of Utrecht, throws, as we shall hereafter see, a flood of light on several of the most important expressions of the human countenance. The merits of Sir C. Bell's work have been undervalued or quite ignored by several foreign writers, but have been fully admitted by some, for instance by M. Lemoine,[5] who with great justice says:--"Le livre de Ch. Bell devrait etre medite par quiconque essaye de faire parler le visage de l'homme, par les philosophes aussi bien que par les artistes, car, sous une apparence plus legere et sous le pretexte de l'esthetique, c'est un des plus beaux monuments de la science des rapports du physique et du moral."

[4] I always quote from the third edition, 1844, which was published after the