EXPRESSION OF THE MUSCLES. 251 



is an important element in physiognomy, though its significa- 

 tion is doubtful, and must be completed by the expression of 

 all the other features, or of the body. 



Expression of the muscles. The action of the muscles and 

 the movements resulting from it, have, on the contrary, a 

 special character, whether taken as a whole or individually, 

 in certain muscles of the face. In making an effort, these 

 movements embrace the whole muscular system, and the 

 expression which results is more characteristic. When re- 

 produced by the plastic arts, it strongly impresses the spec- 

 tator, who feels a sort of sympathetic contraction, but which 

 soon fatigues and irritates like all inconstant attitudes. 



The muscles of the face by their single or combined con- 

 traction cause the most widely differing expressions, and 

 correspond to all the sentiments, whether simple or complex. 

 Thus, the muscle of the forehead raises the brow in attention, 

 admiration, or astonishment; that of the eyebrow contracts 

 it with pain ; the great zygomatic raises the angle of the lips 

 in laughing; the triangular muscle of the lips draws them 

 downward in weeping; other muscles co-operate in expres- 

 sing combativeness, fear, anger, irony, &c., in short, the 

 slightest phase of feeling is reproduced in the features, by 

 the slight or energetic contractions of the muscles, which 

 carry with them the skin to which they are intimately united, 

 wrinkling or distending it. An eminent physiologist, M. 

 Duchenne of Boulogne, particularized the action of these 

 muscles in expressive movements. But though some of 

 them may play a distinct part in the mimicry of the face, 

 others always join in the movements when the sentiment or 

 sensation acquires a certain vivacity; thus the muscle of the 

 eyebrow alone may express a certain degree of suffering, but 

 when it becomes intense the eyelids close, the nostrils dilate, 

 and other signs beside prove the simultaneous action of the 

 different muscles. For the physiologist and the physician, 

 rigorously exact facts of this sort have the greatest value; 

 but they are of less consequence to the artist, who must repre- 

 sent not only the muscle but the whole of the parts, near or 

 distant, to which its action extends. If it is necessary for 

 him to understand anatomy and the function of the muscles 



