. The cyclopædia of anatomy and physiology. Anatomy; Physiology; Zoology. THORAX. 1065 established an experimental inquiry into the quantity of air received by a single inspiration.* Jurin improves upon Borelli. About this time (1708) Dr. James Keile made some correct measurements of the volume of air breathed, f Then followed Dr. Hales, who threw more light upon the doctrine of air, the power of respiration, and the power of the heart, than all his predecessors; yet he was quite ignorant of the use of respiration ; and at this period (1733) really very little was known upon the subject. In 17
. The cyclopædia of anatomy and physiology. Anatomy; Physiology; Zoology. THORAX. 1065 established an experimental inquiry into the quantity of air received by a single inspiration.* Jurin improves upon Borelli. About this time (1708) Dr. James Keile made some correct measurements of the volume of air breathed, f Then followed Dr. Hales, who threw more light upon the doctrine of air, the power of respiration, and the power of the heart, than all his predecessors; yet he was quite ignorant of the use of respiration ; and at this period (1733) really very little was known upon the subject. In 1757 and fol- lowing years, Black, Rutherford, Lavoisier, Priestley, and Scheele, the chemists of the age, threw light upon the matter by discover- ing the composition of the atmosphere, and consequently the composition of respired air. It is since the time of Black that the most valuable mass of our knowledge upon respir- ation has been discovered. The functions of the thorax maybe divided into two great heads, — the chemical and the physical ; for an account of the former see RESPIRATION. Every point of the thorax can move for the purpose of respiration; and hencehas followed a. division of these movements, nominated after the parts which respectively carry on their functions, viz. costal breathing, and ab- dominal or diaphragmic breathing. These motions are, in health, symmetrical, constant, regular, sensitive, and precisely the same; otherwise disease must exist. The breathing movements are also expres- sive of mental emotions. The tragedian imi- tates them to give force to the character he represents, whether it be the stealthy breathing of the Roman conspirator sharpen- ing his knife, or the deep swelling inspiration of Ajax defying the lightning; these repre- sentations, without such movements, would be but dull pictures of the mind of the authors who left such characters on record. It is much easier to become delicately fa- miliar with these movements and their cha- ra
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