190

DRAWING.

them that we desire, hope, promise, call, send back; they are theinstruments of threatening, prayer, horror, and praise; by themwe approve, condemn, refuse, admit, fear, ask; express our joyand grief, our doubts, regrets, pain, and admiration. In a word,it may be said, as they are the language of the dumb, that theycontribute not a little to speak a language common to all nations,which is the language of painting. But to say how these partsmust be disposed for expressing the various passions, is impossible,nor can any exact rules be given for it, both because the taskwould be infinite, and because every one must be guided in thisby his own genius, and the particular turn of his own studies.”According to M. Le Brim, the particular passions produce theiraction on the body as expressed in the following rules:

1. The effects of Attention are to make the eye-brows sinkand approach the sides of the nose; to turn the eye-balls towardsthe object that causes it; to open the mouth, and especially theupper part; to decline the head a little, and fix it without anyother remarkable alteration.

2. Admiration causes but little agitation in the mind, andtherefore alters but very little the parts of the face; neverthelessthe eye-brow rises: the eye opens a little more than ordinary ; theeye-hall placed equally between the eye-lids appears fixed on theobject; the mouth half opens, and makes no sensible alteration inthe cheeks.

3. The motions that accompany Admiration with Astonish-ment, are hardly different from tiiose of simple admiration, onlythey are more lively and stronger marked; the eye-brows moreelevated; the eyes more open; the eye-ball further from thelower eye-lid, and more steadily fixed: the mouth is more open,and all the parts in a much stronger emotion.

4. Admiration begets esteem, and this produces Veneration,which, when it has for its object something divine, or beyond ourcomprehension, makes the face decline, and the eye-brows benddown; the eyes are almost shut and fixed: the mouth is shut.These motions are gentle, and produce but little alterations in theother parts.

5. Although Rapture has the same object as veneration, onlyconsidered in a different manner, its motions are not the same;the head inclines to the left side; the eye-balls and eye-brows risedirectly up; the mouth half opens, and the two corners are also alittle turned up: the other parts remain in their natural state.

6. The passion of Desire brings the eye-brows close togetherand forwards toward the eyes, which are more open than ordinary;the eye-ball is inflamed, and places itself in the middle of the eye;the nostrils rise up, and are contracted towards the eyes; themouth opens, and the spirits being in motion, give a lively glow-ing colour.

7. Very little alteration is remarked in the face of those that feelwithin themselves the sweetness of jov, or joy v with Tranquil-lity. The forehead is serene; the eye-brow without motion, ele-vated in the middle; the eye pretty open, and with a laughing air;the eye-ball lively and shining; the corners of the mouth turn upa little; the complexion is lively ; the cheeks and lips are red.

8. Laughter, which is produced by joy mixed with surprize,makes the eye-brows rise towards the middle of the eye, and bendtowards the sides of the nose; the eyes are almost shut, and some-times appear wet, or shed tears, which make no alteration in theface; the mouth half open, shews the teeth; the corners of themouth drawn back, cause a wrinkle in the cheeks, which appearso swelled as to hide the eyes in some measure; the nostrils are

■open, and all the face is of a red colour.

9. Acute Pain makes the eye-brows approach one another,and rise towards the middle; the eye-ball is hid under the eye-brows; the nostrils rise and make a wrinkle in the cheeks; themouth half opens and draws hack: all the parts of the face areagitated in proportion to the violence of the pain.

10. Simple bodily Pain produces proportionally the samemotions as the last, but not so strong: the eye-brows do not ap-proach and rise so much; the eye-ball appears fixed on some ob-ject ; the nostrils rise, but the wrinkles in the cheeks are less per-ceivable; the lids are further asunder t wards the middle, and themouth is half open.

11. The dejection that is produced by Sadness makes the eyebrows rise towards the middle of the forehead more than towardsthe cheeks; the eye ball appears full of perturbation; the whiteof the eye is yellow; the eye-lids are drawn down, and a little

sw elled ; all about the eyes is livid; the nostrils are drawn down-ward ; the mouth is half open, and the corners are drawn down;the head carelessly leaning on one of the shoulders: the face is ofa lead colour; the lips pale.

12. The alterations that Weeping occasions are strongly mark-ed : the eye-brows sink down towards the middle of the forehead ;the eyes are almost closed, wet, and drawn down towards thecheeks; the nostrils strellcu; the muscles and veins of the fore-head appear; the mouth is shut, and the sides of it are drawndown, making wrinkles on the checks ; the under lip pushed outpresses the upper one : all the face is wrinkled and contracted; itscoUnn is red, especially about the eye-brows, the eyes, the nose,and the cheeks.

13. The lively attention to the misfortunes of another, which iscalled Compassion , causes the eye-brows to sink towards themiddle of the forehead; the eye-ball to be fixed upon the object;the sides of the nostrils next the nose to be a little elevated, makingwrinkles in the cheeks; the mouth to be open ; the upper lip to belifted up and thrust forwards; the muscles and all the parts of theface sinking down and turning towards the object which excitesthe passion.

14. The motions of Scorn are lively and strong: the foreheadis wrinkled; the eye-brow is knit; the side of it next the nosesinks down, and the other side rises very much ; the eye is veryopen, and the eye-halls in the middle ; the nostrils rise, and drawtowards the eyes, and make wrinkles in the cheeks; the mouthshuts, its sides sinking down, and the upper lip is pushed out be-yond the upper one.

15. An object despised sometimes causes Horror , and then theeye-brow knits, and sinks a great deal more. The eye-ball, placedat the bottom of the eye, is half-covered by the lower eye-lid ; themouth is half open, but closer in the middle than the sides, whichbeing drawn back, makes wrinkles in the cheeks; the face growspale, and the eyes become livid; the muscles and the veins aremarked.

16. The violence of Terror, or Fright, alters all the parts ofthe face ; the eye-brow rises in the middle ; its muscles are marked,swelled, pressed one against the other, and sunk towards the nose,whirl) draws up as well as the nostrils; the eyes are very open ;the upper eye-lid is hid under the eye-brow; the white ot the eyeis encompassed with red ; the eye-ball fixes toward the lower partof the eye ; the lower part of the eye-lid swells and becomes livid;the muscles of the nose and cheeks swell, and these last terminatein a point tow ard the sides of the nostrils; the mouth is very open,and its corners very apparent; the muscles and veins of the neckstretched; the hair stands on end; the colour of the face, that is,the end of the nose, the lips, the ears, and round the eyes, is paleand livid; and all ought to be strongly marked.

17. The effects of Anger shew its nature. The eyes becomered and inflamed; the eye-ball is staring and sparkling; the eye-brow's are sometimes elevated, and sometimes sunk down equally ;the forehead is very much wrinkled, with wrinkles between theeyes ; the nostrils are open and enlarged ; the lips pressing againstone another, the under one rising over the upper one leaves thecorners of the mouth a little open, making a cruel and disdainfulgrom.

18. Hatred or Jealousy wrinkles the forehead; the eye-brows are sunk down and knit; the eye-ball is half hid under theeye-brows, which turn towards the object; it should appear full offire, as well as the white of the eye and the eye-lid; the nostrilsare pale, open, more marked than ordinary, and drawn backwardso as to make w rinkles in the cheeks; the mouth is so shut as toshew tiie teeth are closed; the corners of the mouth are drawnback and very much sunk; the muscles of the jaw appear sunk ;the colour of the face is partly inflamed and partly yellowish; thelips pale or livid.

19. As Despair is extieme, it motions are so likewise ; the fore-head wrinkles from the top to the bottom; the e\e-brows benddown over the eyes, and press one another on the sides of thenose; the eve seems to be on tire, and full ot blood ; the eye-ballis disturbed', hid under the eye-brow, sparkling and unfixed ; theeve-lid is swelled and livid ; the nostrils are large, open, and liftedup ; the end of the nose sinks dow n ; the muscles, tendons, andveins are swelled and stretched ; the upper part of the cheek islarge, marked, and narrow towards the jaw ; the mouth drawnbackwards is more open at the sides tlian in the middle ; the lower