EXP 
EXPOSITION, in general, denotes the 
setting a thing open to public view; thus it 
is the Romanists say, the host is exposed, 
when shewn to the people. 
EX POS L' FACTO, in law, something 
done after another : thus an estate granted 
may be good by matter ex post facto, that 
was not so at first, as in case of election. 
A law is said to oe ex post facto when it is 
enacted to punish an offence committed be- 
fore the passing of the law. Such a proceed- 
ing is held to be against the constitution of 
England. 
EXPRESSED OILS, in chemistry, such 
oils as are obtained from bodies only by 
pressing. See Oil. 
EXPRESSION, in chemistry, or phar- 
macy, denotes the act of pressing out the 
juices or oils of vegetables, which is one of 
the three ways ot obtaining them ; the other 
two being by infusion ana decoction. See 
Pharmacy. 
Expression, in painting, is the dis- 
tinct exhibition of character in the general 
object of the work, or of sentiment in the 
characters or persons represented. 
In the latter case it consists either in repre- 
senting the body in general and all its parts 
severally, in actions most peculiarly suitable 
to the uesign of the picture, and marking 
thereby the emotions of the soul in the va- 
rious figures, or in pourtraying in the face 
the appearances of the passions. In this sense 
the term expression has been frequently con- 
founded witn passion; but the former implies 
a representation of its object agreeably to its 
nature and character, and to the office it 
holds on the picture ; while the latter denotes 
merely a particular turn or motion of the 
body, or of the muscles and features of the 
face, which marks any violent agitation 
of the soul : so that every passion is an ex- 
pression, but not every expression a pas- 
sion. 
Expression, says Le Brun, is a lively and 
natural resemblance of the objects which we 
are to represent. It is a necessary ingre- 
dient in every part of painting, and without it 
no picture can be perfect, as it is that which 
describes the true characters of things, ft is by 
expression that the different natures of bodies 
are distinguished, that the figures seem to 
have motion, and that every thing counter- 
feited appears to be real. 
Expression subsists as well in the colouring 
as in the design ; it E to be observed in the 
representation of landscapes, as well as 
in the general composition of figures. 
All substances, whether animate or inani- 
mate, are capable of expression. The skill 
of the painter exhibits the hardness of one 
substance and the softness of another, its 
smoothness or roughness, its dryness or moist- 
ness, clearness or opaqueness, &c. in charac- 
ters which cannot be mistaken. 
Expression being therefore a representa- 
tion of things according to their character, 
may be considered either with respect to the 
subject in general, or to the passions peculiarly 
relative to it. 
1st. With regard to the subject ; it is first 
requisite that all and every part of the com- 
position should be so adapted to the general 
character of the subjects that they should con- 
spire to impress at the same moment one dis- 
tinct sentiment or idea. Thus, for example, 
EXP 
in a picture designed to give the representa- 
tion of a joyful or peaceful event, every ob- 
ject that is introduced should be of a pleasing 
or tranquil kind. If the subject betaken from 
history, its particular nature and character 
must be diffused through every part of the 
work ; but wherever any circumstance occurs, 
which counteracts or diminishes the general 
sentiment raised by the event represented, 
the insertion of such circumstance will, pro- 
portionably to its magnitude, destroy the ge- 
neral expression of the picture. 
Extraneous incidents are frequently intro- 
duced for the purpose of diversifying and 
giving variety to the expression ; but they 
must be such as are neither contrary to the 
truth of the history, nor to the principal de- 
sign of the subject. 
Expression, in a picture, will then be per- 
fect when every part of the picture is not 
only fit and appropriate to the subject, but 
when no one part of it could without evident 
impropriety be transferred to any other sub- 
ject. 
The agreement of the whole ought to be par- 
EXP 
6 $ 7 
the Apostles healing at the beautiful Gate of 
the Temple, where they have the effect of 
expressing the holy uses, no less than the 
magnificence, of the building in which they 
arc hung. 
The robes or other habits of the figures, 
their attendants, their ensigns of authority, 
crowns, maces, swords; or, in humble life, 
their various implements of labour, crooks, 
scythes, &c. all contribute to the expression 
of character. 
There are also various kinds of accessory 
aids, which form a mode of artificial expres- 
sion, indulged to painters, and practised by 
them. To express the sensations of the mind 
of Christ, when in agony a short while pre- 
vious to Ills crucifixion, Baroccio has not only" 
represented the angel offering him the cup of 
bitterness, but has painted in the back-ground 
the cross encircled with flames. 
In the same manner in the cartoon where 
the people of Lycaonia are going to of- 
fer sacrifices to St. Paul and Barnabas, Raf- 
faelle has shewn the cause of their offerings, 
by adventitious figures. In the fore-ground, 
tic ularly regarded, not only in the actions of j tlie man who had been healed ot lameness by 
the figures* but in the back-ground, light and j those apostles, is the most eager to express- 
shade, and colouring. Whatever is the ge- ! his sense of the miraculous power exercised 
neral character of the subject, whether serene, by them, and the individuality ot this character 
joyous, melancholy, grave, solemn, or ter- is marked not only by a crutch on the ground* 
rible, the picture should discover that cha- | under his feet, but by the more singular cir- 
racter to the first glance of the spectator, cumstance of an old man taking up the skirt 
The nativity of a Saviour, his resurrection or of his garment, looking on the limb which 
ascension, must be distinguished from his cru- he may be supposed to have remembered 
cirixion or his interment, as much by the ge- 
neral hue of the picture, the accessory orna- 
ments, back-ground, &c. as by the action of 
the figures. In viewing some of the finest 
religious subjects of the Italian school, senti- 
ments of awe and devotion have been often 
in its former crippled state, and expressing his 
admiration and devotion. 
Ot the same kind was the artifice used by 
the Greek painter Timanthes (and so much 
admired by the antients), to express the pro- 
digous bulk of a cyelops. He placed round- 
experienced to be amongst the first impres- j the sleeping'monster several satyrs, supposed 
sions made on the spectator, previous to his , to be of the ordinary size of the human form, 
examination of the particular actions or coun- one of whom was measuring the thumb of 
tenances of the figures, and therefore evidently the giant with his thyrsus, apparently with 
produced by the general distribution of the I great caution, lest he should awake ; others 
composition, or the general tone of the colour- ; were running away, as if frightened; others 
ing. The wo ks of Ludovico Caracci are I gazing on him from a distance, as not daring 
justly celebrated by sir J. Reynolds in his to approach him. 
academic discourses, for their powerful effect 
in the latter point. 
In the admirable cartoon by Raffaelle, of 
St. Paul preaching at Athens, the expres- 
sion of the whole work is just and strong. 
The dignified air of the apostle impresses 
the spectator with reverence. His action 
is awful and authoritative without excess or 
extravagance : it is an action which assures 
us that he, who uses it, speaks with a power 
of conviction. The different sentiments of 
his audience are exhibited with equal skill 
and good sense. Some of his hearers appear 
angry, some malicious, some attentive, some 
reasoning within themselves on his doctrines, 
some disputing their truth, and some con- 
vinced. The very back-ground has its mean- 
ing ; it contributes to the demonstration or ex- 
pression of that superstition, against which the 
inspired orator directed his eloquence. In the 
power of distinct, peculiar, and appropriate 
expression, no one has ever raised himself 
above Raffaelle, scarcely any one has ever 
equalled him. 
There are often certain little circumstances 
which contribute to the expression of the ge- 
neral subject, and of these also no painter ever 
availed himself more than Raffaelle ; witness 
the burning lamps, in the cartoon of 
Another artificial mode of expression, prac- 
tised by painters, is the use of allegorical 
figures, representative of certain points of the 
subject, 'l'his art has also been derived from 
the antients, who have left abundant exam- 
ples of it ; as in the bas-reliefs on the An- 
tonine column at Rome, where the figure of 
Jupiter Pluvius Is introduced to express the 
rain which fell when the Roman army was 
preserved by the prayers of the Theban le- 
gion. Raffaelle, in this manner, has perso- 
nified the river Jordan in his design of the 
children of Israel passing across the river of 
that name ; and has represented him as push- 
ing back and restraining the course of the wa- 
ters with his arm. 
2dly. With regard to the passions and 
affections peculiar to the subject, the general 
rules consist in the proper division and dis- 
tinction of them, as shewn in brute or rational 
animals, in young or old, in male or female, in 
cultivated or savage. 
The passions of brutes are few and simple; 
those of the rational animal many and va- 
rious. The powers of expression in the one 
are more confined than in the other. A man 
can move his eyebrows more readily than 
the brutes, and can give greater variety to the 
direction of the eyes, &c- 
