pressions from the
sand, now fixed as the vestiges in the sand-stone.

Attitudes, dresses, features, hands, feet, betray the social grade of the
candidates for portraiture. The picture tells no lie about them. There is
no use in their putting on airs; the make-believe gentleman and lady
cannot look like the genuine article. Mediocrity shows itself for what it
is worth, no matter what temporary name it may have acquired. Ill-temper
cannot hide itself under the simper of assumed amiability. The
querulousness of incompetent complaining natures confesses itself almost
as much as in the tones of the voice. The anxiety which strives to smooth
its forehead cannot get rid of the telltale furrow. The weakness which
belongs to the infirm of purpose and vacuous of thought is hardly to be
disguised, even though the moustache is allowed to hide _the centre of
expression_.

All parts of a face doubtless have their fixed relations to each other and
to the character of the person to whom the face belongs. But there is one
feature, and especially one part of that feature, which more than any
other facial sign reveals the nature of the individual. The feature is
_the mouth_, and the portion of it referred to is _the corner_. A circle
of half an inch radius, having its centre at the junction of the two lips
will include the chief focus of expression.

This will be easily understood, if we reflect that here is the point where
more muscles of expression converge than at any other. From above comes
the elevator of the angle of the mouth; from the region of the cheek-bone
slant downwards the two _zygomatics_, which carry the angle outwards and
upwards; from behind comes the _buccinator_, or trumpeter's muscle, which
simply widens the mouth by drawing the corners straight outward; from
below, the depressor of the angle; not to add a seventh, sometimes well
marked,--the "laughing muscle" of Santorini. Within the narrow circle
where these muscles meet the ring of muscular fibres surrounding the mouth
the battles of the soul record their varying fortunes and results. This is
the "_noeud vital_"--to borrow Flourens's expression with reference to a
nervous centre,--the _vital knot_ of expression. Here we may read the
victories and defeats, the force, the weakness, the hardness, the
sweetness of a character. Here is the nest of that feeble fowl,
self-consciousness, whose brood strays at large over all the features.

If you wish to see the very lo