The Artist's Repository, Or, Encyclopedia of the Fine Arts (Band 1): The Human Figure (London, 1808)

LECT. VII.] OP EXPRESSION. 175

be gentle, the movement is easy (C) ; if violent, so
is the movement (D).

But it must be remembered, that there are two
kinds of elevation of the eye-brow ; one, when it
rises in the middle, expressing agreeable sensations
(E) ; when the brow thus rises (F), the corners of"
the mouth are elevated (G) ; whereas, in expressions
of sorrow, the mouth is elevated in the middle (H);
—but when the eye-brow sinks in the middle (I),
denoting bodily pain, then the mouth sinks at its
corners (K).

In laughter, all the parts follow each other; for
the brows descend toward the centre of the fore-
head, and make the nose, mouth, and eyes, follow
the same motion (L).

In weeping (M), the movements are compound
and contrary; for the eve-brows lower themselves
toward the eyes and nose, toward which the mouth
rises (N).

"W hen the heart is dejected, so are all parts of the
face (O); but when the heart is inflamed and har-
dened by some passion (P), the parts of the face fol-
low a similar movement, particularly the mouth ;
which proves that this part exhibits more especially
the sensations of the heart. For, we must observe,
that when the heart suffers, the corners of the mouth
sink ; when it is satisfied, they rise (Q) ; when the
heart has aversion to any object, the mouth expresses
that aversion, by rising in the middle, and pouting.

Thus we see that all parts of the face contribute
to expression, according to the nature, and force,
of the sentiment which impels them. Let us now

consider