moral activity. If, therefore, the
pure and beautiful expression of the destination of man, which is marked
in his architectonic structure, penetrates us with satisfaction and
respect for the sovereign, reason, who is the author of it, at all events
these two sentiments will not be for us without mixture but in as far as
we see in man a simple creation of nature. But if we consider in him the
moral person, we have a right to demand of his face an expression of the
person, and if this expectation is deceived contempt will infallibly
follow. Simply organic beings have a right to our respect as creatures;
man cannot pretend to it but in the capacity of creator, that is to say,
as being himself the determiner of his own condition. He ought not only,
as the other sensuous creatures, to reflect the rays of a foreign
intelligence, were it even the divine intelligence; man ought, as a sun,
to shine by his own light.

Thus we require of man a speaking expression as soon as he becomes
conscious of his moral destiny; but we desire at the same time that this
expression speak to his advantage, that is to say, it marks in him
sentiments conformable to his moral destiny, and a superior moral
aptitude. This is what reason requires in the human face.

But, on the other side, man, as far as he is a phenomenon, is an object
of sense; there, where the moral sentiment is satisfied, the aesthetic
sentiment does not understand its being made a sacrifice, and the
conformity with an idea ought not to lessen the beauty of the phenomenon.
Thus, as much as reason requires an expression of the morality of the
subject in the human face, so much, and with no less rigor, does the eye
demand beauty. As these two requirements, although coming from the
principles of the appreciation of different degrees, address themselves
to the same object, also both one and the other must be given
satisfaction by one and the same cause. The disposition of the soul
which places man in the best state for accomplishing his moral destiny
ought to give place to an expression that will be at the same time the
most advantageous to his beauty as phenomenon; in other terms, his moral
exercise ought to be revealed by grace.

But a great difficulty now presents itself from the idea alone of the
expressive movements which bear witness to the morality of the subject:
it appears that the cause of these movements is necessarily a moral
cause, a principle which resides beyond the w