When a texture is suddenly hardened, it loses more than half its length, and becomes twisted in various ways. Taken suddenly from the acid or boiling water, it remains hardened; but if it is pulled, it becomes elongated, and then contracts again, when the force applied ceases, so that it has acquired a real elasticity by the process of hardening. This elasticity is remarkable in the tendons, nerves and muscles, which before this are absolutely destitute of it. This elasticity is not an effect of the slow and insensible hardening of alkohol and the neutral salts. By macerating for a length of time the organized textures, they gradually lose the power of contracting suddenly, which does not, however, entirely disappear, until the maceration has reduced the textures to mere pulp.
If the textures are softened by boiling, and stretched out to their original length, after having been hardened, this cannot be produced again by any agent that we may employ.
When the textures are in a state of putrefaction, they no longer possess this kind of contractility.
Slow and insensible hardening cannot take place during life; this is an insurmountable obstacle to it. But that which is sudden may, when its agents have overcome the resistance that vitality offers. Oftentimes we see the skin hardened by burns. When it is stripped of its epidermis, and a very strong acid is poured upon it, the same effect is produced as upon any other organ.
When a part has been hardened upon a living subject, it almost inevitably dies; it cannot be restored to the suppleness that it possessed before; suppuration separates it from the sound parts.
The fluids do not present the phenomenon of hardening, the fibrine only excepted. Separated from the blood, it crisps and contracts.
After what has been said, it is evident that the solids possess the faculty of contracting or shortening. This is brought into action in many different ways. During life it appears, 1st. in the influence of the nerves upon the voluntary muscles; this is animal contractility. 2d. In the involuntary muscles by the action of stimuli; this is sensible organic contractility. 3d. In the muscles, the skin, the cellular texture, the arteries, the veins, &c. from a want of extension. This is the contractility of texture, which is not found, or at least is very obscure, in many of the organs, as the nerves, the fibrous bodies, the cartilages, the bones, &c. 4th. By the action of fire, and the strong acids; this is the contractility of the horny hardening, and is general.
When the muscles are deprived of life, they lose the two first kinds of contractility; but the third remains with them as it does with all the organs that enjoy it. When they are dried or remain in water a little time, they lose that also; but the fourth still continues with them; it is the last that abandons the animal textures; it is perpetuated for a length of years. When I have exposed to the action of fire the cartilaginous parenchyma of bones found in cemeteries, they have become hardened. I am persuaded that this faculty would last for many ages, if we could preserve the organic textures.
Contractility is, then, a common and general property, inherent in all animal textures, but which, according to the manner that it is brought into action, presents essential differences, which divide it into many species, that have no analogy. It would certainly be impossible to avoid distinguishing the difference between the four species I have pointed out, and that insensible contraction, or kind of oscillation, which forms during life the insensible organic contractility, or tonic motions.
Among the causes that bring contractility into action, some belong, then, to life, others are independent of it, and are derived only from organization. All the organs are essentially contractile; but each of the causes which makes them contract acts only upon this or that texture: the horny hardening alone has a general effect.