We now come to the subject of expression in portraiture

We now come to the subject of expression in portraiture, and this has a much larger significance than would at first be fancied on giving it but a casual thought. It is not merely in the subtle and evasive lines in the face, the close study and observation of which help so greatly to emphasize the likeness, that expression entirely consists, although these contribute much to its realization; but there are other attributes of personality to be considered, wherein lurk sometimes strong elements of characterization not to be overlooked, be the head itself never so well finished.

There is much in the hands that is expressive of the character, occupation, or temperament, and to so treat them that they maybe individual, personal, and forceful enough to suggest that they belong to the head of the sitter and to none other, is to emphasize the expression of your portrait.

The nervous or nerveless manner of holding the head, the stolid, phlegmatic way of sitting, or the stately and spirited carriage and bearing to be found in one sitter or another, are all qualities which, if stamped upon the portrait, add greatly to the force of its expression. In painting a portrait the artist does not attempt to get the expression during the first sitting, but after he has correctly drawn in the features, and general character of the head, and has the color well laid in and partly modeled, then it is lie begins to look for the expression of the face.