Fig. 11.-Rage.

whole frame trembles, the features are unsteady, and the whole visage is sometimes pale, sometimes dark and almost livid; the exposed eyeballs roll and are inflamed, the forehead is alternately knit3 and raised. in furrows, the nostrils are inflated to the utmost, the lips are swollen, the corners of the mouth open, and the teeth are so firmly closed that words escape with difficulty. Tasso, in describing the rage of Argantes, dwells with great effect upon this "strangling of speech"

The pagan lord, to such affronts unused,
Bit both his lips, wrath's strangled orators;
He would have spoke, but only sounds confused
Broke forth, such sounds as when a lion roars;
Or, as when lightning cleaves the stormy doors
Of heaven, to rouse from its reluctant rest
The thunder growling as the tempest pours;
For every word, which he with pain express'd,

Escaped in tones as gruff from his infuriate breast.--Canto vi. 38.

6. Bodily fear gives to the features a different expression, by differently affecting the muscles. In men, as in animals, the expression is without dignitythe mean anticipation of pain. Here the frontal muscle, unwrinkling the eyebrows, raises them to their fullest extent; the eyeball is largely uncovered, and the eyes staring; the whole upper lip is raised instead of a part of it. The nostrils are spread out, and the lower jaw is fallen, while in rage it is in the opposite condition. There is a spasmodic affection of the muscles of the chest, a trembling of the lips, a hollowness and convulsive motion of the cheeks, and a cadaverous aspect, caused by the receding of the blood.

Fig 12.-Bodily Fear.

7. Terror, that species of fear which rouses to defend or escape, is thus alluded to by Shakspeare:

Canst thou quake and change thy color',
Murther thy breath in middle of a word',
And then again begin', and stop again',

As if thou wast distraughts and mad with terror'?-Richard III. But when terror is mixed with astonishment, the fugitives and unnerved steps of mere terror are changed for the rooted and motionless figure of a creature appalled and stupefied. Spenser characterizes well this kind of terror:

He answer'd naught at all; but, adding new
Fear to his first amazement, staring wide
With stony eyes, and heartless hollow hue,
Astonish'd stood, as one that had espy'd
Infernal furies with their chains unty'd.

8. Differing from any thing to which we have yet alluded is the mixed expression which a testy," peevish, suspicious, jealous melancholy gives to the countenance -the expression of one who is incapable of receiving satisfaction, from whatever source it may be offered; who can not endure any man to look steadily upon him, or even to speak to him, or laugh, or jest, or be familiar, without thinking himself contemned,8 insulted, or neglected. See how the corners of the mouth are drawn down, and the chin drawn notice the peevish turn given to the lowering eyebrows, and the peculiar meeting of the perpendicular and transverse furrows of the forehead.

9. Envy, which "consumeth a man as a moth doth a garment," has a similar expression. Jealousy, which is a fitful and unsteady passion, is marked by a frowning and dark obliquity 10 of the eyes; and suspicion by the same, combined with earnest attention. The latter passion is thus forcibly characterized by Spenser in his Faery Queen:

Foul, ill-favored and grim,11

Under his eyebrows looking still askance;
And ever as Dissemblance laughed on him,
He lower'd on her with dangerous eye glance,
Showing his nature in his countenance:

His rolling eyes did never rest in place,

But walked each where, for fear of hid mischance, 12

Holding a lattice still before his face,

Through which he still did peep as forward he did pace.-B. iii., c. 12.

10. It is an important truth that all these muscular movements, which give expression to the countenance, are directed and controlled by the nervous influence transmitted from the

brain through the nerve fibres, as shown in the engraving at the head of this lesson. Is not the variety of expression thus produced a very striking proof of design-an evidence that all our emotions are intended to have their appropriate outward characters?

1 RAM-I-FI-CA-TIONS, branchings.

2 Liv'-ID, black and blue.

3 KNIT, contracted.

4 €A-DAV ́-ER-OUS, like a dead body; pale.
$ DIS-TRAUGHT' (dis-trawt'), distracted.
FC'-GI-TIVE, inclined to flee away.

7 TEST'-x, petulant; fretful.

8 CON-TĚMN'ED, regarded with contempt. 9 TRANS-VERSE', running crosswise.

10 OB-LIQ'-UI-TY (ob-lik'-we-ty), a deviation from a right line.

11 GRIM, adapted to create terror; ill-looking.

12 MIS-CHANCE', ill fortune.

LESSON XII.-USES OF ANATOMY AND PHYSIOLOGY

TO THE PAINTER.

1. As anatomy makes us acquainted with that structure by which the mind expresses emotion, and through which the emotions are controlled and modified, it introduces us to the knowledge of the relations and mutual influences which exist between the mind and the body. To the painter, therefore, the study is necessarily one of great importance. It does not teach him to use his pencil', but it teaches him to observe nature', to see forms in their minute varieties, which, but for the principles here elucidated,' would pass unnoticed'; to catch expressions so evanescent2 that they must escape him' did he not know their sources'. It is this reducing of things to their principles which elevates his art into a connection with philosophy', and which gives it the character of a liberal3 art.'

2. Anatomy leads to the observation of all the characteristic varieties which distinguish the frame of the body or countenance. A knowledge of the peculiarities of infancy, youth, or age'; of sickness or robust health'; or of the contrasts between manly and muscular strength and feminine delicacy'; or of the appearances which pain or death present', belongs to its province as much as the study of the muscles of the face when affected by emotion'. Viewed in this comprehensive light, anatomy forms a science not only of great interest, but one which will be sure to give the artist a true spirit of observation, teach him to distinguish what is essential to just expression, and direct his attention to appearances on which the effect and force, as well as the delicacy of his delineations, will be found to depend.-SIR CHARLES BELL.

1 E-LÜ'-CI-DA-TED, made plain.

2 EV-A-NES'-CENT, fleeting; quickly passing away.

LIB-ER-AL, embracing elegant culture, as

the liberal arts-such as painting, music, etc.

4 DE-LIN-E-A'-TIONS, drawings of the outlines of a thing.

LESSON XIII.-MARVELS OF HUMAN CALORIC.

ECLECTIC REVIEW.

[In the Fourth Reader, page 54, the principle of animal heat was explained as being caused by the union of the oxygen of the air with the carbon, or worn-out particles of our bodies. This carbon, taken in as a part of our food, and being used to form the tissues of the body, is dislodged, particle by particle, whenever we move a muscle, be it of the heart, lungs, or limbs, and whenever we think or feel; and it is then that the union with oxygen-that is, the combustion, takes place. The more intensely, therefore, we think, and act, and feel, the more carbon we burn, and the more repairs our bodies need. The condition of life is, therefore, death, and the faster we live, the more rapidly are the particles of our bodies burning up-passing away. The following humorous article may help to fix some of these principles in our memories.]

1. WE must be plain with our readers. It will not do to mince matters where questions of science are concerned. Dainty1 people will, no doubt, object to the proposition we are about to advance. Nevertheless, we persist. Fearless of the consequences, utterly unawed by the hisses which we know will ensue, we proceed to lay down the following assertion: We are all living stoves-walking fireplaces-furnaces in the flesh.

2. Now we do not intend to say that any one can light a cigar, or boil an egg, or even ignite2 a lucifer-match at these human hearths. Still, we repeat, these bodies of ours are stoves-fireplaces-furnaces if these terms can be applied to any apparatus for the express production of caloric. And is not heat produced in the human body by the union of oxygen with carbon, just the same as by the burning of wood in an open fireplace? and does not this union take place in the capillaries of the blood-vessels?

3. But, granting that our bodies are veritable stoves, the reader will desire to know where we procure our fuel. Fortunately, our coal and fire-wood are stored up in a very interesting form. They are laid before us in the shape of bread and butter, puddings and pies; rashers3 of bacon for the laborer, and haunches of venison or turtle-soup for the epicure. Instead of being brought up in scuttles, they are presented in tureens, dishes, or tumblers, or all of them, in pleasant succession.

4. In fact, whenever you send a person an invitation to dinner, you virtually request the honor of his company to take fuel; and when you see him enthusiastically employed on your dainties, you know that he is literally "shoveling" fuel into his corporeal stove. The ultimate form in which this fuel is burnt in the capillaries is that of carbon, with a little hydrogen and sulphur; but we swallow it in the shape of fat,

starch, sugar, alcohol, and other less inflammatory compounds. By far the most heating of these substances is fat; ten pounds of this material, imported into your stove, will do as much work-that is, will produce as much warmth as twenty-five pounds of starch, twenty-five of sugar, or even twenty-six of spirits.

5. And a pleasant thing it is to observe how sagaciously the instinct of man has fastened upon the articles which will best supply him with the species of fuel he requires. The Esquimaux is extremely partial to oily fare. He does not know why. He never heard of the doctrine of animal heat. But he feels intuitively that bear's grease and blubber are the thing for him. Condemn him to live on potatoes or Indian corn, and the poor fellow would resent the cruelty as much as an alderman of the old school if sentenced to subsist on water-gruel alone.

6. And the savage would be perfectly right. Exposed as he is to the fierce cold of a northern sky, every object around him plundering him of his caloric incessantly, what he needs is plenty of oily food, because from this he can produce the greatest quantity of heat. On the other hand, the native of the tropics, equally ignorant of animal chemistry, eschews the fiery diet which his climate renders inappropriate, and keeps himself cool on rice, or dates, or watery fruits.

7. Hence we see the reason why a very stout man, if deprived of food, can keep up his corporeal fires for a longer time than a slender one. Human fat is fuel laid away for use. It constitutes a hoard of combustible material upon which the owner may draw whenever his ordinary supplies are intercepted. Let all plump persons therefore rejoice. We offer them our hearty, perhaps somewhat envious congratulations. They, at any rate, are prepared to stand a long siege from cold.

9

8. For the same reason, animals which hybernate, like the bear, jerboa, marmot, dormouse, bat, and others, generally grow plump before they retire into winter-quarters. Upon their capital of fat they subsist during their lethargy, the respiration being lessened, the pulse reduced to a few beats per minute, and the temperature perhaps nearly to the freez ing point. But, when the season of torpor terminates, they issue from their caves and burrows meagre and ravenous, having burnt up their stock of fuel, Bruin10 himself appearing to be anxious to defraud the perfumers of the unguent11 which is so precious in their eyes.