Evening star., 1931-12-20

the development of smiles and other facial ex-
presSionS of mankind from babyhood to old
age. Moreover, he has traced the evolution
OF facial expression, and of the facial muscles
that make the expressions, in the mammals in
GUIDING the primates up to man.
His studies have revealed the factors which
enable the human face, and no other, to ex-
press complex emotion. He gives q scientific
explanation of the difference between a Chap
lin and ham actor
He finds that facial expression can be great
ly perfected during a persons lifetime and
even II you are no actor, he suggests how you
can achieve beauty Of facial expression
This scientist Is DR.. Ernest Huber associate
professor Of anatomy in the Johns Hopkins
University. He says at the beginning of his
newly published book John Hopkins Press,
Baltimore), which sums up his 28-year long
research, The story of the evolution Of the
muscles of facial expression Is the most fasci-
mating story of which know"
THE smile, the frown, the dimple and other
far more complex expressions have evolved
from mere grimace, DR.. Huber found. The
muscles and nerve mechanism causing them
have evolved from one primitive music layer
mnervated by one single nerve, the facial
nerve, still seen in lower vertebrates.
In the primitive mammals, this muscle starts
in the neck and spreads up below the ear into
the face, where it has become differentiated
into a series of facial muscles In man this
differentiation has gone much farther than in
the lower p-imates. Likewise, the facial nerve
in man has branched out enormously so that
it can direct the many muscles of the human
face.
Part of the facial expression depends on
size and location of the muscles, just as your
skill in sports depends partly ON the size and
location of other muscles in your body. The
actual structure Of the muscles has lot to
do with their function as we'll
Muscles come in bundles which are held to-
gethcr by connective ticsue called faScia. The
word is taken from the same old Latin word
as the Italian Fascists have adopted for their
name but is pronounced as if the sc" were
"sh"
originally referred to the bundles of elm
or birch rods bound together and carried as
symbols of power in ancient Rome. While
Mussoini's Fascists have revived the word In
its symbolic sense, the anatomists started
using it long ago in its literal meaning
Muscles such as those of the arms and legs
are soidy bound together into compact struc-
lures by the fascia. The facial muscles how
ever, are entirely lacking in fascia and instead
of all contracting together, as your biceps does,
small muscle portions or even single muscle
bundles may contract independently
T is this type of muscle that enables you to
wink one eye or lift one eyebrow or one cor
ner Of your mouth Developed to its utmost,
il is this type of muscle that is responsible for
the great play of expression that you see on
the face Of talented actor
If the fascia extended into the face and
spread veil-hke over the delicate thinly bun
died mimetic musculature it would of course
make elaborate facial expression impossible
DR. Huber points cut. ..-.:-
The minetic muscles. by which facial ex-
pressions are made, lie directly under and
next to the freely movable skin. There the
inserting muscle bundles are anchored In sub
cutaneous tissue or firmly attached to the