But the most conspicuous result of the opposed contraction of the above-named muscles, is exhibited by the peculiar furrows formed on the forehead. These muscles, when thus in conjoint yet opposed action, may be called, for the sake of brevity, the grief-muscles. When a person elevates his eyebrows by the contraction of the whole frontal muscle, transverse wrinkles extend across the whole breadth of the forehead; but in the present case the middle fasciae alone are contracted; consequently, transverse furrows are formed across the middle part alone of the forehead. The skin over the exterior parts of both eyebrows is at the same time drawn downwards and smooth, by the contraction of the outer portions of the orbicular muscles. The eyebrows are likewise brought together through the simultaneous contraction of the corrugators;[703] and this latter action generates vertical furrows, separating the exterior and lowered part of the skin of the forehead from the central and raised part. The union of these vertical furrows with the central and transverse furrows (see figs. 2 and 3) produces a mark on the forehead which has been compared to a horse-shoe; but the furrows more strictly form three sides of a quadrangle. They are often conspicuous on the foreheads of adult or nearly adult persons, when their eyebrows are made oblique; but with young children, owing to their skin not easily wrinkling, they are rarely seen, or mere traces of them can be detected. These peculiar furrows are best represented in fig. 3, Plate II., on the forehead of a young lady who has the power in an unusual degree of voluntarily acting on the requisite muscles. As she was absorbed in the attempt, whilst being photographed, her expression was not at all one of grief; I have therefore given the forehead alone. Fig. 1 on the same plate, copied from Dr. Duchenne’s work,[704] represents, on a reduced scale, the face, in its natural state, of a young man who was a good actor. In fig. 2 he is shown simulating grief, but the two eyebrows, as before remarked, are not equally acted on. That the expression is true, may be inferred from the fact that out of fifteen persons, to whom the original photograph was shown, without any clue to what was intended being given them, fourteen immediately answered, “despairing sorrow,” “suffering endurance,” “melancholy,” and so forth. The history of fig. 5 is rather curious: I saw the photograph in a shop-window, and took it to Mr. Rejlander for the sake of finding out by whom it had been made; remarking to him how pathetic the expression was. He answered, “I made it, and it was likely to be pathetic, for the boy in a few minutes burst out crying.” He then showed me a photograph of the same boy in a placid state, which I have had (fig. 4) reproduced. In fig. 6, a trace of obliquity in the eyebrows may be detected; but this figure, as well as fig. 7, is given to show the depression of the corners of the mouth,