252 THE HUMAN BODY. 



in order to reproduce exactly their projection during move- 

 ments of the body and limbs, it is much more the study of 

 the living model which guides him when endeavouring to 

 render the expression of the features; and if he fails in this, 

 it is less from ignorance of anatomy than from lack of senti- 

 ment or incapacity. 



It is remarkable also how much opinion varies in regard 

 to works of art. Each individual brings to their examination 

 the predisposition of his studies; and if the naturalist may 

 sometimes criticize justly, sometimes also in his judgments 

 the artistic sentiment is replaced by the rigorous formulas 

 and exact notions of science; he does not consider that the 

 artist should avoid being as exact as a Chinese copy, anci 

 that a profound artistic sentiment should be completed in 

 its expression by its' counterpart in the spectator. And lastly, 

 a savant may be a man of genius, and still lack all artistic 

 sentiment. Gratiolet, that fine and noble mind, could see 

 nothing in Raphael's "Creation" but a "deplorable work a 

 furious old man striving with feet and hands to separate two 

 thick clouds." The man who criticized one of the most 

 admirable master-pieces of art in these terms, was a scholar 

 of the first order, a great physiologist, and has left a w r ork 

 on physiognomy itself marked by the most delicate percep- 

 tions and the most profound study. 



Physiognomy of the senses. The more the mind predomin- 

 ates over matter, and separates itself from it, the more elevated 

 will be the expression of the physiognomy. Faith and 

 prayer transport man into an order of ideas purely intellec- 

 tual, and give to the features a character in which sense has 

 no part. Resignation attaches itself to the terrestrial affec- 

 tions, and mingles with them an element of pain which, 

 whether moral or physical, is always expressed by the marks 

 of suffering. The recital of a dishonourable action adds a 

 shade of disgust to indignation, and the moral impression 

 seems to affect our organs as they are affected by material 

 impressions. 



This indirect and, as it were, figurative action of the senses 

 on the physiognomy, mingles incessantly with movements of 

 another order, and often expresses itself with as much energy 



