(_b_) From another point of view it is necessary that sculpture, as we have seen, be kept unaffected by purely contingent _personal life_[145], and all expression of such in the independent ideal mode under which it asserts itself. For this reason an artist, in dealing with physiognomical characteristics, is not entitled to move in the direction of individual manner[146]. For a facial manner is simply just this appearance on the surface of an individual idiosyncrasy and some particular aspect of emotion, idea, and volition. A man by his chance expressions of countenance expresses the feelings he has as some particular person, whether it be in his exclusive relation to his own life, or in his self-relation to exterior objects, or other persons. One sees, for example, on the street, more particularly in little towns, in many, or rather the majority of men, that they are exclusively preoccupied, in their demeanour and expression of face, with themselves, their dress and attire, in general terms, that is, their purely personal particularity, or, at least, matters of momentary importance, and any unforeseen or accidental features thus presented. Countenances which express pride, envy, self-satisfaction, depreciation, and so forth, are of this nature. Moreover, the feeling and contrast of substantive being with my personal idiosyncrasy may be responsible for such alterations of expression. Humility, defiance, threats, fear, are expressed in this way. In a felt contrast of this kind we find already a separation between the individual in the subjective sense and the universal asserted. Reflection on what is truly substantive continually leans in the direction of merely personal considerations, so that it is the individual rather than the substantive character which is predominant in the content. The form, however, which remains severely true to the principle of sculpture ought neither to express this severation nor the predominance of the personal aspect above adverted to. In addition to definite expressions of countenance[147] physiognomy presents us with much that merely passes momentarily across the features and indicates the human mood. A sudden smile, an instantaneous outburst of anger, a quickly repressed expression of scorn, are a few of many examples. In particular, the mouth and eyes possess most mobility and resource in seizing and making apparent every shifting mood of soul-life. Changes of this character, which are compatible with the art of painting, the sculptor must exclude. Sculpture must rather concentrate its attention on the permanent traits of spiritual expression, and retain and disclose such in the posture and configuration of the body no less than in the face.