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EXP 
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EXT 
Children and savages, less accustomed to 
the use of reason, express their passions more 
directly than cultivated men; the lirst ne- 
cessarily, without habitual modes of disclo- 
sure or disguise. 
Respecting the difference of age and sex, 
the expressions of vigorous manhood wear a 
freer, bolder, and move resolute appearance; 
those of women, and age, are more tender, re- 
'served and feeble. 
Condition or rank of life also demands a dif- 
ference of expression. The demeanour of a 
magistrate, or other person invested with 
public honours, is more grave and reserved 
than that of the populace, whose external mo- 
tions are, for the most part, rude and disor- 
derly. 
The several expressions of action, in run- 
ning, striking, pointing, asking, forbidding, af- 
firming, idling, avoiding, pursuing, starting, and 
many other modes, are obviously various, 
and require a fitness of attitude, and a proper 
delineation of the corresponding and as- 
sisting parts of the body, and other acces- 
sories. 
For the painter of animals nothing is more 
necessary than the study of the characteristic 
expressions of the brute creation, which are 
severally as various as their species; not 
only on account of the singular diversity of 
qualities and instincts with which they are 
endowed, but of the different modes in which 
they exhibit passions of a similar nature. Ex- 
pression in brute animals is, generally speak- 
ing, more displayed by attitude than by the 
features of the face, although, in part, this pro- 
bably arises from our imperfect acquaintance 
with them. 
As it is therefore in the human figure, and 
still more particularly in the human counte- 
nance, that expression is most effectually and 
exquisitely displayed, it is to man that our 
observations must be principally directed in 
this part of the subject, for the study of which 
there is no perfect school but that of nature. If 
the rules of expression generally given are 
found to agree with the experience of a 
careful observer of nature, they are good and 
useful ; if not, they are to be followed with 
caution, or rejected wholly, as occasion shall 
dictate. 
The affections of the soul maybe expressed 
by attitude, and by countenance. There are 
few strong emotions of our minds which may 
not, in a great measure, be shewn by the 
former. Fear, surprise, horror, admiration, 
humility, pride, and many other affections, 
are visible in the air and turn of the body; 
i>ut as this mode of expression admits of a 
very extensive range, it is next to impossible 
to define the precise rules by which it is to 
be governed. 
Next to the general action of the body, and 
turn or air of the head, the hands claim a 
principal share ih the expression of our senti- 
ments. It is by them we approve, condemn, 
admit, refuse, entreat, admonish. The hands 
raised together towards heaven express devo- 
tion ; folded they denote idleness, and some- 
times despair; wringing the hands denotes 
grief; waving one hand from us, prohibition ; 
extending it towards any one, acceptance and 
benevolent intentions ; laying the fore-finger 
on the mouth enjoins silence; the same finger 
extended while the others are closed in the 
hand., shews and points to a particular ob- 
ject. 
That by the countenance the particular 
and immediate disposition of our minds is in- 
dicated, is indisputable; and not this only, 
but our general qualities and capacities are to 
be found by the same index. Let two men, 
a wise man and a fool, be placed together, 
dressed and disguised- as you please, one will 
never he mistaken for the other; nay, the dis- 
tinction between them will be discernible at 
the first glance of the eye : and as these cha- 
racters are most strongly stamped upon the 
face so as to be read by every spectator, 
when they are in the utmost extremes, they 
are proportionably impressed as they exist 
in a greater or less degree,, and are legible ac- 
cordingly, in proportion to tke skill and sa- 
gacity of the reader. 
In the same manner our good or ill-nature, 
our gentleness, ferocity, humility, pride, are 
discoverable in the countenance in all their 
various degrees. The lines and forms by 
which these general tendencies, or settled 
habits of our minds, are expressed, are, of all 
others, the most difficult to be defined. The 
reader will find many curious hints and essays 
concerning them in the works of Lavater. 
With regard to the temporary affections of 
the mind, the following rules of expression are 
ordinarily given : 
Although the passions of tfie soul may be 
expressed by the actions of the body, it is in 
the face that they are principally shewn, and 
particularly in the turn of the eye, and mo- 
tion of the eyebrows. 
There are two ways of elevating the eye- 
brows ; the one at the middle, which likewise 
draws up the corners of the mouth, and ar- 
gues pleasurable emotions ; the other at the 
point next the nose, which likewise draws up 
the middle of the mouth, and is the mark of 
grief and painful sensations. 
The passions are all reducible to joy and 
sadness, either mixed or simple. 
Joy causes a dilatation of all the parts of 
the face; the eyebrows rise in the middle, the 
eyes ar£ halt-open and smiling, the pupils 
sparkling and moist, the nostrils a I;. tie open, 
the cheeks full, the corners of the mouth 
drawn upwards, the lips red, the complexion 
lively, the forehead serene. 
Passionate joy, proceeding from love, is 
shown by the forehead smooth and even, the 
eyebrows a little elevated on the side to which 
the pupil is turned, the eyes sparkling and 
open, the head inclined towards the object, 
the air of the face smiling, and the complexion 
ruddy. 
Joy proceeding from desire, is expressed 
by the air and action of the body, the arms 
extending towards the object in uncertain and 
unquiet motions. 
Sadness is expressed by the body being bent 
downwards, the head neglectfully reclined, 
the forehead wrinkled, the eyebrows raised 
to the middle of the forehead, the eyes half- 
shut, the mouth a little open, the corners 
tending downwards, the under lip pointing 
and drawn back, the nostrils swelled and 
drawn downwards. 
Sadness, mixed with fear, causes the parts 
to contract and palpitate, the members to 
tremble and fold up, the visage to be pale and 
livid, the point of the nostrils elevated, the 
pupil in the middle of the eye, the mouth 
opened at the sides, and the under-lip drawn 
back. 
In sadness, mixed with anger, the motions are 
2 
more violent, the parts all agitated, the mus- 
cles swelled, the pupil wild and sparkling, the I 
poiwt of the eyebrows fixed toward the nose, ! 
the nostrils open, the lips swelled and pressed 
down, the corners of the mouth a little open 
and foaming, the veins swelled and full, and 
the hair erect. 
Sadness, mixed with despair, lias a similar 
appearance to the last mentioned, only more 
excessive and disordered. 
But, added to these general observations, I 
every passion has its distinct form of ex pres- I 
sion, for which see the article Passions. 
It is remarkable that Leonardo da Vinci, in' 1 
his Treatise on Painting, has observed, that | 
between tlie expression of laughing, and that 1 
of weeping, there is no difference in the mo- j 
tion of the features, either in the eyes, mouth, 
or cheeks, but in the brows only; those who j 
weep, raising the brows and bringing them i 
close together above the nose, and forming l 
many wrinkles on the forehead, while those | 
who laugh have them elevated and extended, j 
Of expression in sculpture, sir Joshua Rev- 1 
nolds has given it as his opinion that it is ne- j 
ccssarily oi a much more confined kind than j 
in painting; an assertion which cannot be 
disputed, inasmuch as the materials of sculp- 
ture are more limited. He instances the cole- j 
bratedgroup of Laocoon and his sons, in which ; 
he says the whole expression consists in the j 
representation of bodily pain in general, and i 
asserts that sculpture is incapable of admitting j 
the mixed delineation of pain and parental af- 
fection. 
This doctrine, if not highy questionable, ] 
certainly demands a greater degree of elucida- 
tion. 
EXTASY, in medicine, a species of cata- 
lepsy, when a person perfectly remembers, ;! 
after the paroxysm is over, the ideas he con- 1 
ceived during the time it lasted. 
EXTEND, in law, signifies to value the ; 
lands or tenements of a person bound by a 
statute, &c. who has forfeited the same, at ] 
such an indifferent rale, that by the yearly 
rent the creditor in time may be paid his j 
debt. See Extent. 
EXTENSION, in philosophy, one of the j 
common and essential properties of body, or I 
that by which it possesses or takes up some ] 
part of universal space, which is called the j 
place of that body. 
extensor; an appellation given to se- 1 
veral muscles, from their extending or stretch- 1 
ing the parts to which they belong. 
EXTENT, in law, is used in a double I 
sense : sometimes it signifies a writ or com- j 
mand to the sheriff for {lie valuing of lands or j 
tenements; and sometimes the act of tiie I 
sheriff, or other commissioner, upon this 1 
writ ; but most commonly it denotes an esti- ] 
mate or valuation of lands, and hence come 1 
our extended or rack rents. Every extent 1 
ought to be made on inquisition and verdict, j 
without which the sheriff cannot legally exe- ] 
cute the writ. 
The cognisee, or party to whom the lands 
are delivered, has no absolute property in ] 
them, but is accountable to the cognisor ac- 1 
cording to the extended value only, not the 
real value. No seisin can be on an extent, 
nor may lands or goods be sold thereon. 
EXTERMINATION, in general, the 
extirpating or destroying. something. In al- ■ 
ge-bra surds, fractions, and unknown quanti- 
