entire human species, with universal human expressions; and he stresses the social value of expression, citing the emotional communication between mother and child. Illustrations This was one of the first books to be illustrated with photographs – with seven heliotype plates – and the publisher John Murray warned that this "would poke a [terrible] hole in the profits". The published book assembled illustrations rather like a Victorian family album, with engravings of the Darwin family's domestic pets by the zoological illustrator T. W. Wood as well as work by the artists Briton Rivière, Joseph Wolf and A.D. May. It also included portraits by the Swedish photographer Oscar Rejlander (1813–1875), anatomical diagrams by Sir Charles Bell (1774–1842) and Friedrich Henle (1809–1885), as well as illustrational quotations from the Mécanisme de la physionomie humaine (1862) by the French neurologist Duchenne de Boulogne (1806–1875). As a result of his domestic psychology experiments, Darwin reduced the number of commonly observed emotions from Duchenne's calculation of more than sixty facial expressions, to just six "core" expressions: anger, fear, surprise, disgust, happiness and sadness. Darwin received dozens of photographs of psychiatric patients from James Crichton-Browne, but included in the book only one engraving (photoengraved by James Davis Cooper) based on these illustrations – sent on 6 June 1870 (along with Darwin's copy of Duchenne's Mécanisme) (Darwin Correspondence Project: Letter 7220). This was Figure 19, p. 296 – and showed a patient (Crichton-Browne reported) under the care of Dr James Gilchrist at the Southern Counties Asylum (of Scotland), the public wing of the Crichton Royal in Dumfries. Reception Contemporary The review in the January 1873 Quarterly Journal of Science concluded that "although some parts are a little tedious, from the amount of minute detail required, there is throughout so much of acute observation and amusing anecdote as to render it perhaps more attractive to general readers than any of Mr. Darwin's previous work". Modern Eric Korn, in the London Review of Books, describes how the book was claimed, and he argues subverted, by Margaret Mead and her "sympathisers", and then presented afresh by Paul Ekman. Ekman had collected pro-Darwin, anti-Mead evidence, Korn wrote, for the universality of human facial expression of emotions. Darwin, suggests Korn, avoided unsettling the Victorian public by arguing that humans had "animal traits", and instead charmed them by telling stories of "human traits in animals", thus avoiding too much explicit talk of natural