Abstract
Contacts with scientific method and discoveries in the history of science have frequently proved stimulating and fruitful to the artist. Leonardo's exchanges with Pacioli, LeBrun's reliance on Descartes, Seurat's inspiration from Chevreuil are of peculiar interest to the art historian. Such relationships take him out of the somewhat limited channels of the history of art and whisk him into the heady and treacherous currents of the history of ideas. An equally stimulating relationship and one less well known is that between Sir Charles Bell1 and the English history painter, Benjamin R. Haydon. The treatise which served as the basis for their acquaintance, and the work to which this paper is devoted, is Bell's Essays on the Anatomy and, Philosophy of Expression,2 first published in 1806 although written some two years earlier.
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