306 PHYSICAL EXPRESSION. 



concerning the manner of the soul's working, or 

 concerning the seat of the soul, are of no use to the 

 artist. These belong to metaphysicians, who, by 

 the way, lose themselves in a labyrinth of terms, 

 or words with no definite meaning, without having 

 in the least explained the action of this immortal 

 principle upon the corporeal and mortal frame." 

 Camper proceeds to give examples of the con- 

 ditions of the muscles as indicating conditions of 

 the mind, and then says, " the observation deducible 

 from these effects is, that in every emotion of the 

 mind particular nerves are affected ; consequently 

 every painter ought to make himself acquainted 

 with the construction and connection of the nerves 

 productive of these changes." 



Camper* (p. 134) gives the following illustrations 

 of expression, which he describes in terms of nerve- 

 muscular signs thus (the figures are borrowed from 

 his work) : 



" Contemplate first the placid countenance (Fig. 

 38). Every feature is at rest; no one muscle is 

 brought into particular action ; all are in a state of 

 repose, without appearing relaxed or inert. There 

 is a tranquillity in the eye void of languor, and 

 the lips are in unconstrained contact. 



" Let us suppose something to present itself which 

 excites a degree of surprise or wonder (Fig. 39). The 

 intercostal nerves are immediately affected, and act 

 upon the third pair ; hence the eyelid is opened, 

 and the eye stands motionless in the socket. The 

 same nerve acts upon the eighth pair at the same 



* Camper, Works, translated by T. Cogan, M.D., 1821. 



