Page:The New International Encyclopædia 1st ed. v. 07.djvu/427

EXPOSITION OF THE SACRAMENT. was thus exposed at least on Corpus Christi; but not until the sixteenth century did it become customary to expose the Host at other times, as on occasions of public distress, when it is said to have been introduced by a Capuchin of Milan, Father Joseph, who died in 1556. The practice is still in use of placing the Host within the monstrance above the altar and appointing persons to relieve each other night and day in watching and praying for a period of forty hours. On the second day a mass ‘for peace’ is sung, and it is again placed in the tabernacle after a high mass (that of deposition) has been sung. The exposition is not allowed without leave from the bishop or without an Apostolic indult. Usually no mass is celebrated at the altar during the exposition: the bells are not rung at masses said at other altars. Consult Maier, Die liturgische Behandlung des Allerheiligsten ausser dem Opfer der heiligen Messe (Ratisbon, 1860).  EX POST FACTO (Lat., more accurately ex postfacto, from what is done afterwards). A legal term, designating something as done after or arising from or affecting another thing that was committed before. In this broad sense, it is applied to the acceptance of an estate by the grantee in a deed, conveying it to him, which estate he had the right to reject or accept. It is also applied to every act of a legislative body, or of a court, having a retroactive effect. The term is most frequently used, however, in a narrower and more technical sense. This is due to certain provisions of our Federal and State constitutions, prohibiting the enactment of ex post facto laws. The term in this connection does not embrace retrospective laws in general, but is confined to laws of a criminal or penal nature. Hence, a statute setting aside a decree of the Court of Probate rejecting a will and directing a new hearing before the court is not within this constitutional prohibition, however repugnant it may be to the principles of sound legislation. In order to come within the prohibition the law must render an act punishable in a manner in which it was not punishable when it was committed. It is not necessary, however, that the punishment be of a strictly criminal character. A law which excluded a minister of the Gospel from the exercise of his clerical functions, and a lawyer from practice in the courts, unless he would take an oath that he had not engaged in or encouraged armed hostilities against the Government of the United States, was declared by the United States Supreme Court to be ex post facto because it punished in a manner not before punished by law offenses committed before its passage, and because it instituted a new rule of evidence in aid of conviction. On the other hand, a statute is not ex post facto which mitigates instead of increasing punishment, or which changes the rules of evidence or procedure in matters of detail without impairing any substantial right which the law gave the accused at the time when his alleged criminal act was done. In conclusion, it should be remembered that the constitutional provisions in question have always received a liberal construction, with the view of giving full effect to this avowed purpose of protecting the individual right of life and liberty against hostile retrospective legislation. Consult: Cooley, The General Principles of Constitutional Law in

the United States (Boston, 3d ed. 1900); Kringo vs. State of Missouri, 107 United States, 221.  EXPRESS (Lat. expressus, distinct, p.p. of exprimere, to express, from ex, out + premere, to press). A business which has grown within the past quarter of a century to be of enormous importance. It was in the spring of 1839 that William F. Harnden advertised to take charge of money and small parcels to transmit between Boston and New York, and from his single carpetbag has risen a system of intercommunication between places and persons that, for numbers of stations and length of route, is surpassed only by the post-office department. The most valuable articles are sooner intrusted to a responsible express than to Government mails; for, in addition to ever-increasing care, there is a system of package insurance which secures the owner in almost any case of loss. A large proportion of the business is the collection of small sums for merchants. To these familiar features the express companies have generally added in the last decade a money-order business, which has led some of them into international banking and the issue of checks for the use of travelers—a modified form of the (q.v.). Corresponding institutions do not exist in Europe, where the parcels post and the postal service as a rule fulfills acceptably the functions which in the United States are in the hands of the express companies.  EXPRESSION (Lat. expressio, from exprimere, to express). In music, the method of clearly presenting the emotional and intellectual characteristics of a work. There are a few broad rules which are generally accepted as being at the basis of expression. A crescendo movement is usually accompanied by an intensification, a diminuendo by a slight drawing back; a musical phrase is played with increasing fervor to its climax, and from that point is diminished to its end; any striking melody or rhythm in a passage should be emphasized; a modulation to a new key is accompanied by a crescendo. It is interesting to note that passages of increasing intensity generally have rising melodies, while those which show a decrease have falling. There are a number of works on the theory and practice of expression, among them: Lussy, Traité de l'expression musicale (Paris, 1873, translated into English, London, 1885; into German, Leipzig, 1886); Klauwell, Der Vortag in der Musik (Berlin, 1883); Riemann, Musikalische Dynamik und Agogik (Hamburg, 1884); Christiani, Das Verständnis im Klavierspiel (Leipzig, 1886); Haweis, Music and Morals (London, 1871).  EXPRESSION, EXPRESSIVE MOVEMENTS. That bodily movements may serve as indexes of mental states is a matter of daily observation. The smiling face, the bright eye, the animated gestures characteristic of joy and pleasantness, contrast sharply with the attitude of dejection which sorrow and grief entail. Experimental methods have shown that even the simplest modes of affective experience, the pleasure of an agreeable odor, the unpleasantness of a discord, are accompanied by distinct and specific alterations of certain physiological functions. When we are pleased the pulse is strong, we breathe more deeply, the blood flows more freely into the peripheral blood-vessels, and we are muscularly stronger. But it is naturally in the more complex and far-reaching nervous 