290 PHYSICAL EXPKESSION. 



seen in former times; the writings of Camper, 

 Lavater, and Le Brim have taught much as to 

 expression : and we shall inquire presently how 

 far modern and contemporaneous art complies with 

 the high requirements of the principles of expres- 

 sion in illustrating conditions of the body and the 

 mind. 



It is not necessary to speak here of artistic 

 technique and execution; even without special 

 knowledge on such matters any observer who 

 thinks for himself and can compare the expression 

 of a statue, or a painted figure, with living men 

 and women, may form his opinions. If the prin- 

 ciples for the analysis of expression contained in 

 this volume be true and capable of wide appli- 

 cation, they should be applicable to the criticism 

 of artistic representations of expression. In framing 

 those " principles " the analysis and comparative 

 study of paintings and sculpture gave much help, 

 as well as the analysis of examples in life ; it is, 

 then, not unnatural to apply the principles thus 

 framed and enunciated to art criticism. All kinds 

 of postures are produced by the action of the central 

 nerve-mechanism, and, being the direct outcome of 

 its function, are indices of its condition, and, as 

 such, are worthy of study by observation, descrip- 

 tion, and analysis. Many admirable treatises have 

 been written on expression, describing, in such 

 terms as are above referred to, the motor outcome 

 of those brain conditions whose mental manifesta- 

 tions are the emotions. 



John Bulwer gave his descriptions in terms of 



