Dissertation Sur Un Traite Concernant Le Rapport De La Physionomie Humaine Avec Celle Des Animaux. Parigi Calcographie Du Musee Napoleon, 1806

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"Dissertation Sur Un Traité Concernant Le Rapport De La Physionomie Humaine Avec Celle Des Animaux" (Dissertation on a Treatise Concerning the Relation of Human Physiognomy with that of Animals) is a notable work by Charles Le Brun, a prominent French painter and art theorist of the 17th century. Published posthumously in 1806 by the Calcographie Du Musée Napoléon, which was the engraving and printing office of the Louvre during Napoleon's era, this treatise delves into the study of physiognomy, exploring the parallels between human facial features and those of animals.

Le Brun, who served as the First Painter to King Louis XIV, was deeply interested in the expression of emotions in art and believed that understanding the human face's resemblance to animals could enhance the portrayal of character and emotion in painting. His work on physiognomy was part of a broader fascination with the subject during the Enlightenment, when thinkers sought to categorize and understand human nature through various means, including the study of facial expressions.

The treatise is an extension of Le Brun's lectures at the Académie Royale de Peinture et de Sculpture, where he presented his theories on the use of facial expressions to depict the passions of the soul. The publication includes a series of engravings that illustrate the comparative analysis between human and animal features, suggesting that certain human expressions can be associated with the characteristics of specific animals.

Le Brun's work on physiognomy was influential in the fields of art and science, contributing to the development of character theory in the visual arts and intersecting with contemporary interests in natural history and the classification of species. The "Dissertation Sur Un Traité Concernant Le Rapport De La Physionomie Humaine Avec Celle Des Animaux" remains a significant historical document, reflecting the intersections of art, science, and philosophy during the Age of Enlightenment and the Napoleonic era.

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