I have also seen a young woman whose forehead seemed almost habitually thus contracted, independently of any emotion being at the time felt.
The grief-muscles are not very frequently brought into play; and as the action is often momentary, it easily escapes observation. Although the expression, when observed, is universally and instantly recognized as that of grief or anxiety, yet not one person out of a thousand who has never studied the subject, is able to say precisely what change passes over the sufferer's face. Hence probably it is that this expression is not even alluded to, as far as I have noticed, in any work of fiction, with the exception of `Red Gauntlet' and of one other novel; and the authoress of the latter, as I am informed, belongs to the famous family of actors just alluded to; so that her attention may have been specially called to the subject.
The ancient Greek sculptors were familiar with the expression, as shown in the statues of the Laocoon and Arretino; but, as Duchenne remarks, they carried the transverse furrows across the whole breadth of the forehead, and thus committed a great anatomical mistake: this is likewise the case in some modern statues. It is, however, more probable that these wonderfully accurate observers intentionally sacrificed truth for the sake of beauty, than that they made a mistake; for rectangular furrows on the forehead would not have had a grand appearance on the marble. The expression, in its fully developed condition, is, as far as I can discover, not often represented in pictures by the old masters, no doubt owing to the same cause; but a lady who is perfectly familiar with this expression, informs me that in Fra Angelico's `Descent from the Cross,' in Florence, it is clearly exhibited in one of the figures on the right-hand; and I could add a few other instances.
Dr. Crichton Browne, at my request, closely attended to this expression in the numerous insane patients under his care in the West Riding Asylum; and he is familiar with Duchenne's photographs of the action of the grief-muscles. He informs me that they may constantly be seen in energetic action in cases of melancholia, and especially of hypochondria; and that the persistent lines or furrows, due to their habitual contraction, are characteristic of the physiognomy of the insane belonging to these two classes. Dr. Browne carefully observed for me during a considerable period three cases of hypochondria, in which the grief-muscles were persistently contracted. In one of these, a widow, aged 51, fancied that she had lost all her viscera, and that her whole body was empty. She wore an expression of great distress, and beat her semi-closed hands rhythmically together for hours. The grief-muscles were permanently contracted, and the upper eyelids arched. This condition lasted for months; she then recovered, and her countenance resumed its natural expression. A second case presented nearly the same peculiarities, with the addition that the corners of the mouth were depressed.
Mr. Patrick Nicol has also kindly observed for me several cases in the Sussex Lunatic Asylum, and has communicated to me full details with respect to three of them; but they need not here be given. From his observations on melancholic patients, Mr. Nicol concludes that the inner ends of the eyebrows are almost always more or less raised, with the wrinkles on the forehead more or less plainly marked. In the case of one young woman, these wrinkles were observed to be in constant slight play or movement. In some cases the corners of the mouth are depressed, but often only in a slight degree. Some amount of difference in the expression of the several melancholic patients could almost always be observed. The eyelids generally droop; and the skin near their outer corners and beneath them is wrinkled. The naso-labial fold, which runs from the wings of the nostrils to the corners of the mouth, and which is so conspicuous in blubbering children, is often plainly marked in these patients.