[c] Christ on the Cross, Berlin. [d] As in Hacker's Cry of Egypt. It is not a good plan in a tragic design merely to turn the head away to indicate grief or sorrow, because in such a case the artist is unable to differentiate between a person experiencing intense grief, and one who turns his head from horror of the tragedy.[a] The scheme of half veiling the face is not often successful, since the depth of emotion that would be presumed from such an action may be more than counterbalanced by the very limited feeling which can be indicated by the part of the face remaining exposed. On account of a neutralizing effect of this kind, Loefftz's fine picture of the Dead Christ at Munich is much weakened, for there is no stronger expression on the part of the Virgin than patient resignation. Sorrow may well be displayed by semi-concealment of the features, because here the necessary expression may be produced by the eyes alone.[b] In ancient art, to half conceal the face indicated discretion, as in the case of a Pompeian fresco where a nurse of the young Neptune, handing him over to a shepherd for education, has her mouth and chin covered, the meaning of this being that she is acquainted with the high birth of the boy, but must not reveal it. [a] See Gros's Timoleon of Corinth. [b] Leighton's Captive Andromache. THE SMILE A pronounced smile in nature is always transitory, and hence should be avoided when possible in a painting. The only smile that does not tire is that which is so faint as to appear to be permanent in the expression, and it has been the aim of many painters to produce this smile. An examination of numerous pictures where a smile is expressed in the countenance has convinced the writer that when either the eyes alone, or the eyes and mouth together, are used to indicate a smile, it is invariably over-pronounced as a suggestive permanent feature, and that in every case of such permanence, success arises from work on the mouth alone.