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muscular action (" Criticism on Art," p. 5) : " More 

 strange yet, that no Artists should have made this 

 the subject of their orations, but should have all 

 to this Day, either turned their discourse to the 

 structure only of the Humane Fabrique, the per- 

 fections or Symmetry of the Body, or the excellency 

 and antiquity of the Anatomique Art, or the Enco- 

 miums of the Antient and moderne Anatomists; 

 whereas nothing could have set a greater glosse 

 upon the Art, or have bin more glorious and honour- 

 able, than together with their Dissections, to have 

 inriched their discourse with a relation of the 

 Essence, Regiment, and properties of the Soule, 

 whose well-strung instrument the Body was ; . . . 

 for, what is more easie than to discerne the parts 

 manifest to Sense, and the fidelity of a Ocular 

 assurance ? that are so subject to our touch, that 

 in the semblances of those motions wrought in the 

 parts by the endeavour of the Muscles, we may 

 not only see, but as it were feele and touch the 

 very inward motions of the Mind; if you aske what 

 delight will hence acrew to the understanding ? 

 What is so delightfull as to know by what kind 

 of movings those varying motions and expressions 

 of the Head and Face are performed ? . . . Where- 

 fore we will think it a thing worthy to be corrected 

 with the whip of Ignorance, if any rashly plunge 

 himself into the Muscular Sea of corporal Anatomy, 

 or of the outward man, without any mention of the 

 Internal man, since the Soule only is the Opifex of 

 all the moving of the Muscles, whose invisible Acts 

 are made manifest by their operations in those parts 



