in the countenance, and fix upon it a visible character. This appears even in early life: a peevish or good-humoured, a cheerful or melancholy, boy, soon contracts what we call a peevish or good-humoured, a cheerful or melancholy, look. And, if these dispositions continue to predominate in him, the lines produced by them in the several parts of the face, will, in time, become as permanent as those which are seen in the palm of the hand. What it may be, which connects certain emotions of the soul with certain configurations of the muscles of the face, and certain attitudes of the head and limbs, I cannot determine; Des Cartes, and others, have inquired into this matter, but without success; and, till the union of the soul and body be understood, this will, probably, remain a mystery impenetrable to man. 402. In order to form some idea of the expression of the countenance, we are desired to suppose four parallel lines to be drawn across it; one in the direction of the eyebrows, another in that of the eyes, a third in that of the lower part of the nose, and a fourth in that of the mouth. It is not meant that these must be right lines, or parallel in the geometrical sense of the word; they are only supposed to have the same direction nearly, and to extend from the one side of the face to the other. While they remain parallel and with little or no incurvation upwards or down wards, the countenance will indicate tranquillity, that is, a composed state of mind without emotion. If they seem depressed in the middle of the face, and elevated towards the sides of it, the expression will incline to cheerfulness; if raised in the middle and depressed towards the sides, the effect will be contrary, and convey an idea of melancholy, or, at least, of sedateness. I do not say, that this holds invariably; I mean, that it is so for the most part and every thing must be understood to be thus limited that relates to the present subject. 403. The raising of the line of the mouth at the two extremities is so well known to express cheerfulness, that unskilful painters, in order to give that meaning to their portraits, turn up the corners of the mouth, even when the rest of the countenance betokens composure, as the features of those who sit for their picture commonly do. But this contrivance produces a smirk, or affected grin, rather than a smile, because the rest of the face is not conformable to it. When the lines above mentioned, especially that of the eyebrows (the most expressive of them all) are twisted, or irregularly bent, it generally intimates discomposure of mind, and, when much twisted, violent discomposure. There is expression too, as every body knows, in the colour of certain features. A bright and sparkling eye, and increased ruddiness in the cheeks and lips, accompany keen emotions, as languid eyes and pale lips and cheeks betoken the contrary. 404. Admiration, as formerly observed, elevates the eyebrows, opens the mouth and eyes, fixes the attention upon the admired object, raises the hands, and spreads the fingers: astonishment opens the mouth and eyes still wider, and gives a greater and more irregular elevation to the brows. If to astonishment fear be added, both rows of the teeth will appear, and those ends of the eyebrows which are next the nose will be much wrinkled, and drawn downward so as to hide the upper eyelid. Esteem composes the countenance, elevates the pupils of the eyes, draws the eyebrows down towards the nose, contracts the nostrils, opens the mouth a little, and gently depresses the corners of it. Veneration sometimes assumes the same appearances a little heightened, elevating the pupil of the eye till it almost disappear under the eyelid ; and sometimes shuts the mouth and eyes, inclining the face towards the ground, and spreading the hand upon the breast. 405. Contempt elevates and draws back the head, wrinkles and pulls down the brows, distends and raises the nostrils, shuts the mouth and depresses the corners of it, makes the under lip more prominent than the upper, turns away the face from the despised object, and directs the eyes towards it obliquely. Grief raises the brows S VOL. I. towards the middle of the forehead, depressing them at the temples, gives a similar direction to the line of the mouth, half shuts the eyes, hiding the pupils under the upper eyelids, and frequently draws forth tears. Joy smooths the forehead, opens and illuminates the eyes, raises the brows and the corners of the mouth, gently distends the nostrils, and heightens the complexion. Laughter raises the corners of the mouth still higher, giving the same direction to the line of the brows, discovers both rows of the teeth, moistens and almost shuts the eyes, diffuses wrinkles over several parts of the cheeks and forehead, and affects the voice in a very sensible and peculiar manner. 406. I need not enter further into the detail of this subject; what has been said may serve as a specimen, and that is perhaps sufficient. Descriptions of physiognomy it is not easy to make intelligible without drawings; and if one had a good assortment of these, little description would be necessary. Le Brun's Passions are in every printshop, and must be allowed to have considerable merit; though the features, expressive of the more violent emotions, are, perhaps, exaggerated into what the Italians call caricatura. Chodowiecki has made some valuable additions to Le Brun, which may be found in Lavater. I conclude with observing, that several energies of the understanding, as belief, doubt, perplexity, denial, &c. do |