THE PHYSIOGNOMY OF THE MOUTH. 



68 i 



Fig. 3. Sweet Expression. 



muscles as are exercised in laughing, and for this reason the 

 sweet trait bears a degree of resemblance with the trait of the 

 smile ; but the simultaneous contraction of the orbicular muscle 

 of the lips suppresses to a considerable extent the lateral effect of 

 the laughing muscles. The most es- 

 sential characteristic, however, of the 

 sweet trait is the peculiar form as- 

 sumed by the lips ; their orbicular 

 muscle being drawn closely against 

 the teeth, the red lips lose their nor- 

 mal swell, so as to appear flattened 

 and straight when viewed in profile 

 (Fig. 3). The mouth is drawn up in 

 this way under the influence of un- 

 usually agreeable, sweet tastes, and 

 also as a mimic expression of ex- 

 tremely pleasant feelings in the repre- 

 sentations and recollections to which 

 the usages of language have given the epithet of sweet. 



The sweet mouth, combined with an enraptured look, gives the 

 mimic expression of a pleasant reverie ; joined with a sly look, 

 the expression of amorous coquetry ; with horizontal wrinkles it 

 suggests occupation with pleasant thoughts or recollections. It 

 frequently appears when the lips are prepared to give a real or 

 feigned kiss. Inasmuch as the very agreeable feelings to which 

 the term sweet is applied are of only exceptional occurrence, this 

 trait is rarely developed physiognomically. It hardly ever exists 

 among men, but is occasionally found among extremely affection- 

 ate women. When it becomes constant upon the face, it pro- 

 duces an impression akin to that of a too constant sweet taste, as 

 if there were too much of it. If we observe the trait plainly 

 impressed upon a person, we shall be likely to find him in con- 

 versation making much use of the word sweet, and speaking of 

 " sweet women," " sweet music," " sweet love," and even of " sweet 

 grief." 



The central fibers of the orbicular muscle are capable of con- 

 traction independently of the lateral fibers, and this movement 

 gives the scrutinizing trait. When we are on the point of tasting 

 a sapid substance, such as wine, we introduce it between the lips 

 projected into the form of a muzzle ; we then carefully let the 

 liquid flow slowly upon the upper surface of the tongue, in order 

 that the impression of the taste may be prolonged as much as 

 possible, and we may gain more time to appreciate it. The same 

 expression may be observed on the faces of men who are exam- 

 ining the value of an object, whether it be something perceptible 

 to the senses, or abstract thoughts or associations. The art critic 



