“Influenced by the fashionable beliefs of Physiognomy of the 19th Century, Duchenne wanted to determine how the muscles in the human face produce facial expressions which he believed to be directly linked to the soul of man. He is known, in particular, for the way he triggered muscular contractions with electrical probes, recording the resulting distorted and often grotesque expressions with the recently invented camera. He published his findings during 1862, together with extraordinary photographs of the induced expressions, in the book The Mechanism of Human Physiognomy ( Mecanisme de la physionomie Humaine).
Like physiognomists and phrenologists before him, Duchenne believed that the human face was a map the features of which could be codified into universal taxonomies of inner states; he was convinced that the expressions of the human face were a gateway to the soul of man. Unlike Lavater and other physiognomists of the era, Duchenne was skeptical of the face’s ability to express moral character; rather he was convinced that it was through a reading of the expressions alone (known as pathognomy) which could reveal an “accurate rendering of the soul’s emotions”. He believed that he could observe and capture an “idealized naturalism” in a similar (and even improved) way to that observed in Greek art. It is these notions that he sought conclusively and scientifically to chart by his experiments and photography and it led to the publishing of The Mechanism of Human Physiognomy during 1862 (also entitled, The Electro-Physiological Analysis of the Expression of the Passions, Applicable to the Practice of the Plastic Arts. in French: Mécanisme de la physionomie humaine, ou Analyse électro-physiologique de l’expression des passions applicable à la pratique des arts plastiques). The work compromises a volume of text divided into three parts:
A Scientific Section, and
An Aesthetic Section.
These sections were accompanied by an atlas of photographic plates. Believing that he was investigating a God-given language of facial signs, Duchenne writes:
In the face our creator was not concerned with mechanical necessity. He was able in his wisdom or – please pardon this manner of speaking – in pursuing a divine fantasy … to put any particular muscles into action, one alone or several muscles together, when He wished the characteristic signs of the emotions, even the most fleeting, to be written briefly on man’s face. Once this language of facial expression was created, it sufficed for Him to give all human beings the instinctive faculty of always expressing their sentiments by contracting the same muscles. This rendered the language universal and immutable ”
Taken from Wikipedi: http://en.wikipedia.org/wiki/Duchenne_de_Boulogne accessed 31.01.10