14 INTRODUCTION. 



pressions which were photographed on a large scale. It 

 fortunately occurred to me to show several of the best 

 plates, without a word of explanation, to above twenty 

 educated persons of various ages and both sexes, asking 

 them, in each case, by what emotion or feeling the old 

 man was supposed to be agitated; and I recorded their 

 answers in the words which they used. Several of the 

 expressions were instantly recognised by almost every- 

 one, though described in not exactly the same terms; 

 and these may, I think, be relied on as truthful, and 

 will hereafter be specified. On the other hand, the most 

 widely different judgments were pronounced in regard 

 to some of them. This exhibition was of use in another 

 way, by convincing me how easily we may be misguided 

 by our imagination; for when I first looked through 

 Dr. Duchenne's photographs, reading at the same time 

 the text, and thus learning what was intended, I was 

 struck with admiration at the truthfulness of all, with 

 only a few exceptions. Nevertheless, if I had examined 

 them without any explanation, no doubt I should have 

 been as much perplexed, in some cases, as other persons 

 have been. 



Fourthly, I had hoped to derive much aid from the 

 great masters in painting and sculpture, who are such 

 close observers. Accordingly, I have looked at photo- 

 graphs and engravings of many well-known works; 

 but, with a few exceptions, have not thus profited. The 

 reason no doubt is, that in works of art, beauty is the 

 chief object; and strongly contracted facial muscles 

 destroy beauty. 19 The story of the composition is gen- 

 erally told with wonderful force and truth by skilfully 

 given accessories. 



Fifthly, it seemed to me highly important to ascer- 



19 See remarks to this effect in Lessing's ' Laocoon,' 

 translated by W. Ross, 1836, p. 19. 



