DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.20658#0078
64
THE PASSIONS.
mouth is half open, but closer in the middle than the sides, which being drawn back makes
wrinkles in the cheeks; the face gro\vs pale and the eyes become livid; the muscles and the
veins are marked.—(Plate 38.)
The violence of terror ox fright alters all the parts of the face ; the eye-brow rises in the mid-
dle ; its muscles are marked swelled pressed one against the other and sunk towards the nose,
which draws up as well as the nostrils ; the eyes are very open ; the upper eye-lid is hid under
the eye-brow : the white of the eye is encompassed with red; the eve-ball fixes towards the
lower part of the eye ; the lower part of the eye-lid swells and becomes livid ; the muscles of the
nose and cheeks swell, and these last terminate in a point toward the sides of the nostrils; the
mouth is very open and its comers very apparent; the muscles and veins of the neck stretched ;
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 pale and livid ; and all ought to be strongly marked.—(Plate 41.)
The effects of anger shews its nature; the eyes become red and inflamed; the eye-ball is
staring and sparkling; the eye-brows are sometimes elevated and sometimes sunk down equally ;
the forehead is very much wrinkled, with wrinkles between the eyes ; the nostrils are open
and enlarged ; the lips pressing against one another, the under one rising over the upper qne
leaves the corners of the mouth a little open, making a cruel and disdainful grin.- (Plate 35.)
Hatred or Jealousy wrinkles the forehead ; the eye-brows are sunk down and knit; the eve-bail
is half hid under the eye-brows which turn towards the object; it should appear full of fire, as
well as the white of the eye and the eye-lid ; the nostrils are pale open more marked than ordi-
nary, and drawn backward so as to make wrinkles in the cheeks; the mouth is so shut as to shew
the teeth are closed ; the corners of the mouth are drawn back and very much sunk ; the mus-
cles of the jaw appear sunk ; the colour of the face is partly inflamed and partly yellowish ; the
lips pale or livid.—(Plate 34.)
As despair is extreme its motions are so likewise; the forehead wrinkles from the top to the
bottom ; the eye-brows bend down over the eyes and press one another on the sides of the nose ;
the eye seems to be on fire and full of blood, the eye-ball is disturbed, hid under the eye-brow,
sparkling and unfixed ; the eye-lid is swelled and livid; the nostrils are large open and lifted up;
the end of the nose sinks down ; the muscles tendons and veins are swelled and stretched; the
upper part of the cheeks is large marked and narrow towards the jaw ; the mouth drawn back-
wards is more open at the sides than in the middle ; the lower lip is large and turned out; the
patients gnash their teeth ; they foam ; they bite their lips which are pale, as is the rest of their
face; the hair is strait and stands on end.—(Plate 38.)
Again, some critics with more asperity than judgment have undeservedly censured our great
expresser of the passions (Le Brun), for not sufficiently marking, in his written description,
the different character of Laughter and JVeeving. It may be proper however to remark that
these gentlemen blame our author for what is the effect of nature only, as a little observation and
experience will clearly evince. How nearly these two passions resemble each other, in their
expression in the countenance, may be seen from the following anecdote:—As the famous Pietro
di Cortona was one day finishing the face of a crying child, in a representation of the Iron
Age with which he was adorning the floor of the Hot Bath, in the Royal Palace of Pitti, Fer-
dinand H, w ho happened to be looking over him for his amusement could not forbear expressing
his approbation, by crying out " Oh ! how well that child cries." To whom the artist replied
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THE PASSIONS.
mouth is half open, but closer in the middle than the sides, which being drawn back makes
wrinkles in the cheeks; the face gro\vs pale and the eyes become livid; the muscles and the
veins are marked.—(Plate 38.)
The violence of terror ox fright alters all the parts of the face ; the eye-brow rises in the mid-
dle ; its muscles are marked swelled pressed one against the other and sunk towards the nose,
which draws up as well as the nostrils ; the eyes are very open ; the upper eye-lid is hid under
the eye-brow : the white of the eye is encompassed with red; the eve-ball fixes towards the
lower part of the eye ; the lower part of the eye-lid swells and becomes livid ; the muscles of the
nose and cheeks swell, and these last terminate in a point toward the sides of the nostrils; the
mouth is very open and its comers very apparent; the muscles and veins of the neck stretched ;
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 pale and livid ; and all ought to be strongly marked.—(Plate 41.)
The effects of anger shews its nature; the eyes become red and inflamed; the eye-ball is
staring and sparkling; the eye-brows are sometimes elevated and sometimes sunk down equally ;
the forehead is very much wrinkled, with wrinkles between the eyes ; the nostrils are open
and enlarged ; the lips pressing against one another, the under one rising over the upper qne
leaves the corners of the mouth a little open, making a cruel and disdainful grin.- (Plate 35.)
Hatred or Jealousy wrinkles the forehead ; the eye-brows are sunk down and knit; the eve-bail
is half hid under the eye-brows which turn towards the object; it should appear full of fire, as
well as the white of the eye and the eye-lid ; the nostrils are pale open more marked than ordi-
nary, and drawn backward so as to make wrinkles in the cheeks; the mouth is so shut as to shew
the teeth are closed ; the corners of the mouth are drawn back and very much sunk ; the mus-
cles of the jaw appear sunk ; the colour of the face is partly inflamed and partly yellowish ; the
lips pale or livid.—(Plate 34.)
As despair is extreme its motions are so likewise; the forehead wrinkles from the top to the
bottom ; the eye-brows bend down over the eyes and press one another on the sides of the nose ;
the eye seems to be on fire and full of blood, the eye-ball is disturbed, hid under the eye-brow,
sparkling and unfixed ; the eye-lid is swelled and livid; the nostrils are large open and lifted up;
the end of the nose sinks down ; the muscles tendons and veins are swelled and stretched; the
upper part of the cheeks is large marked and narrow towards the jaw ; the mouth drawn back-
wards is more open at the sides than in the middle ; the lower lip is large and turned out; the
patients gnash their teeth ; they foam ; they bite their lips which are pale, as is the rest of their
face; the hair is strait and stands on end.—(Plate 38.)
Again, some critics with more asperity than judgment have undeservedly censured our great
expresser of the passions (Le Brun), for not sufficiently marking, in his written description,
the different character of Laughter and JVeeving. It may be proper however to remark that
these gentlemen blame our author for what is the effect of nature only, as a little observation and
experience will clearly evince. How nearly these two passions resemble each other, in their
expression in the countenance, may be seen from the following anecdote:—As the famous Pietro
di Cortona was one day finishing the face of a crying child, in a representation of the Iron
Age with which he was adorning the floor of the Hot Bath, in the Royal Palace of Pitti, Fer-
dinand H, w ho happened to be looking over him for his amusement could not forbear expressing
his approbation, by crying out " Oh ! how well that child cries." To whom the artist replied
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