of the term: for if we except the configuration of the scull or bones of the head, all other differences of bony structure have absolutely nothing to do with the intellect and disposition. On the score of beauty, we must admit the superiority of certain forms of face over others: but whether a nose be long, or flat; cheek bones prominent and square, or rounded, a chin pointed, or short and abrupt, gives us no intimation of the good sense or good temper of their pos

sessor.

The real instruments of expression, and the motions of which are evidences of both mental and bodily state of well being or of suffering, are the muscles or bands of flesh going from one bone to be inserted into another. When they contract under the influence of volition or a stimulus conveyed to them from the brain, by means of those white cords called nerves, they give rise to the flexion and extension of the limbs and their more compound movements in attitudes, gestures, various modes of progression; and also to the play of expression of the features of the face, more especially about the mouth, nose and eyes. Proposing to treat hereafter of attitudes and gesture, we shall content ourselves for the present with pointing out the causes of the varied expressions of countenance, and showing how far they are to be considered as constituting a system of rational physiognomy.

We shall begin by apprising our readers unlearned in this matter, as well as ignorant of the structure of the human frame, that the instruments of facial expression are the same in number and office in every individual; that is to say that all have the same muscles and these in the same course and direction, for giving motion to the mouth, nostrils and eyes. Smiling, frowning, complacency, disdain, are each expressed in all persons by the same muscles contracting in the same direction.

The attention of our readers may now, for the better understanding of our remarks, be directed to the plate accompanying this article. It is not, we can assure those of our fair friends who might otherwise regard it with fear and mistrust, a face of a New Zealander tattoed nor of an Indian scalped: but simply a profile view of the head, face and neck, from which the skin and subjacent fatty matter have been removed, leaving the muscles in their natural direction and with their usual attachments at both ends. These muscles are, as already observed, found in every face-they are in that of fair Lesbia represented in the engraving opposite; though in this case covered with soft tissue which gives fullness and roundness to the face, and with skin which completes the outline of the features. Still the motion and play of these features is by means of the contraction of the muscles. The ends of these fleshy bands have, we see, a fixed insertion in bones, on one side; and, on the other, they are lost in the angle of the mouth, or are blended with the substance of the lips or nostrils. The obvious effect of their contraction or shortening, must of course be an approximation of the moveable end, or of the yielding part, in which it is inserted, to the fixed end or that on the bone.

If the reader will look at the profile view of the muscles of the face, he will readily understand how they become organs of expression, when they receive their bidding from the brain, during the active states of the mind. It must be remembered that there are two sets of these muscles; one for each side of the face, except the circular muscle of the mouth common to both sides. We have not introduced their names not wishing to fatigue the memory with

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The circular muscle of the eye constituting part of the eyelids, serves by its contraction to close the eye, chiefly by shutting the upper eyelid During this time it also depresses the eye-brow.

VOL. IV-B