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Introduction.—Comparison of Ancient and Modern Art—Studies of the Italian Masters 1
Essay I. Theory of Beauty in the Countenance—Of the Form and
Proportions of the Head and Face 19
Essay II. Changes from Infancy to Age 45
The Skull, as a Protection to the Brain 50
The Characteristic Forms of Animals 53
The Characteristic Organs of Man 57
Theories of Ideal Beauty 63
National Peculiarities in the Form of the Head 71
Essay III. Of those sources of Expression in the Countenance which cannot be explained on the idea of a direct Influence of the Mind upon the Features 82
Blushing 95
Essay IV. Of the Muscles of the Face in Man 97
Muscles of the Forehead and Eyebrow 98
Expression of the Human Eye 101
Muscles of the Nostrils 107
Muscles of the Lips and Cheeks 108
Beard 113
Expression in the Lips and Moustaches 110
Essay V. Of the Expression of Passion, illustrated by a Comparison of the Muscles of the Face in Man and in Animals; and of the muscles peculiar to Man, and their effects in bestowing Human Expression 120
Expression in Animals 121
The muscles of Animals 130
Essay VI. Of Expression in the Human Countenance 142
Laughter 146
Weeping 148
Grief 150
Essay VII. Of Pain 156
Demoniacs 159
Convulsions 161
Fear 163
Terror 168
Despair 169
Admiration 171
Joy 172
Jealousy 173
Rage 175
Remorse 178
Madness 179
Death 183
Essay VIII. Of Expression in reference to the Body 190
The Emotions modified by controlling Expression .... 200
Essay IX. The Study of Anatomy, as necessary to Design 202
Of the Genius and Studies of Michael Angelo Buonarotti . 204
The Study of Anatomy 210
Of the Uses of Anatomy to the Painter 212
Faults into which the Artist may be betrayed in studying the Antique 214
Or in Drawing from the Academy Figure 219
Anatomy, as conducting to Truth of Expression and of Character 221
Of the Nerves, by Alexander Shaw 231