CXVIII. 6. 6.) when the arm is extended, as obferved in the right arm. The ftraight muscles of the abdomen (Plate CXVII. 7. 7.) appear very strong when rifing from a decumbent posture. Thofe parts of the great SERRATUS mufcle (8. 8.) which are received in the beginnings of the oblique defcending muscle immediately below, are very much fwelled when the shoulder on the fame fide is brought forwards; the ferratus muscle then being in action in draw. ing the fcapula forwards. The long extending mufcles of the trunk (Plate CXVIII. 9. 9.) act alternately in walking: If the right leg bears the weight of the body, and the left is in translation as on tiptoe, the last mentioned mufcles of the back on the left fide may be obferved to be tumified on the other fide about the region of the loins, and fo on the other fide. The TROCHANTERS, or outward and uppermoft heads of the thigh bones, (Plate CXVIII. 10. 10.) vary in their politions in fuch a manner at no precife obfervations can explain their several appear. ances; but the study after the life ought to be carefully attended to. If the thigh is extended, as when the whole weight of the body rests on that fide, the gluteus or buttock mufcle (11. 11.) makes a very different appearance from what it of fers at another time; but if the thigh is drawn backwards, that muscle appears still more and more tumified. When the whole leg is drawn upwards for wards, and at the fame time the foot is inclined inwards, the upper part of the fartorius muscle (Plate CXVII, 12. 12.) appears rifing very flrong; in other pofitions of the thigh, that mufcle makes a furrowing appearance in its whole progrefs. If a man is upon tiptoe, the extending mufcles of the leg placed on the fore-part of the thigh (Plate CXVII. 13. 13. 13.) and thofe of the foot that composes the calf of the leg (Plate CXVIII. 14. 14.), appear very ftrong, and the LONG PERONEUS (Plate CXVII. 15.) makes a confiderable indentation or furrowing at that time in its progrefs on the outfide of the leg. Many other remarks might be made on this subject; but a due attention to nature will render them unneceffary. SECT. X. Of the EFFECTS of the PASSIONS in GENERAL. When the ftudent of drawing has made himself acquainted with the various attitudes and mufcular exertions of the human body, it will be proper for him next to ftudy the effects of the paffions upon the limbs and features. The paffions, fays M. LE BRUN, are motions of the foul, either upon her pursuing what the judges to be for her good, or fhunning what the thinks hurtful to her; and commonly, whatever caufes emotion of paf lion in the foul, creates alfo fome action in the body. It is therefore neceffary for a painter to know which are the different actions in the body that exprefs the feveral paffions of the foul, and how to delineate them. M. LE BRUN has been extremely happy in expreffing many of the paffions, and the learner cannot study any thing better than the examples which he has left us of them; and of which we have given a copy in Plates CXIX. and CXX. However, as M. DE PILES juftly obferves, it is abfurd as well as impoffible, to pretend to give fuch particular demonftrations of them, as to fix their expreffion to certain ftrokes, which the pain. ter fhould be obliged to make use of, as effential and invariable rules. This, fays he, would be de priving the art of that excellent variety of expreffion, which has no other principle than diverfity of imagination, the number of which is infinite. The fame paffion may be finely expressed several ways, each yielding more or lefs pleasure in proportion to the painter's understanding and the fpectator's difcernment. Though every part of the face contributes towards expreffing the fentiments of the heart, yet the eye-brow, according to M. Le Brun, is the principal feat of expreffion, and where the paf fions beft make themselves known. It is certain, fays he, that the pupil of the eye, by its fire and motion, very well fhews the agitation of the foul, but then it does not express the kind or nature of such an agitation; whereas the motion of the eye brow differs according as the paffions change their nature. To exprefs a fimple paffion, the motion is fimple; to exprefs a mixed paffion, the motion is compound: if the paffion be gentle, the motion is gentle; and if it be violent, the motion is fo too. We may obferve farther, fays he, that there are two kinds of elevation in the eye-brows: One, in which the eye brows rise up in the middle; this elevation expreffes agreeable fenfations, and it is to be obferved that then the mouth rifes at the corners: The other, in which the eye-brows rife up at the ends, and fall in the middle; this motion denotes bodily pain, and then the mouth falls at the corners. In laughter, all the parts agree; for the eye-brows, which fall toward the middle of the fore-head, make the nofe, the mouth, and the eyes, follow the fame motion. In weeping, the motions are compound and contrary; for the eye-brows fall toward the nose and over the eyes, and the mouth rifes that way. It is to be obferved alfo, that the mouth is the part of the face which more particularly expresses the emotions of the heart: for when the heart complains, the mouth falls at the corners; when it is at eafe, the corners of the mouth are elevated, and when it has an averfion, the mouth fhoots forward, and rifes in the middle. "The head (fays M. DE PILES) contributes more to the expreffion of the paffions than all the other parts of the body put together. Thofe fe parately can only fhow fome few paffiont, but the head expreffes them all. Some, however, are more peculiarly expreffed by it than others; bumility, by hanging it down; arrogance, by lifting it up; languifhment, by inclining it on one fide; and obftinacy, when with a ftill and refolute air it ftands upright, fixed, and ftiff between the two shoulders. The head alfo beft fhows our fupplications, threats, mildness, pride, love, hatred, joy, and grief. The whole face, and every feature, contributes fomething: especially the eyes; which, as Cicero fays, are the windows of the foul. The paffions they more particularly discover are, pleasure, fanguifhing, fcorn, feverity, mildness. admiration, and anger; to which one might add joy |