At the abdomen:  The devil!  Gourmandism!  I am a wretched creature!

The same illustrations may be reproduced in the rising scale.

When the parietals are touched, the idea and the sentiment are very elevated.  As the foci rise, they become more exalted.

Let this be considered from another point of view.  We shall reproduce gratitude by touching all the centres.

They have been centres of attraction, we shall render them points of departure.

“I thank you!” The more elevated the movements, the more nobility there is in the expression of the sentiment.  The exaltation is proportional to the section indicated.

The posterior region is very interesting.  There are three sorts of vertebrae:  cervical, dorsal and lumbar.

This apparatus may first be considered as a lever.  But taking the vertical column alone, we shall have twenty-four special and distinct keys whose action and tonality will be entirely specific.  From these twenty-four vertebrae proceed the nervous plexi, all aiding a particular expression; so that the vertebral column forms the keys of the sympathetic human instrument.

If the finger is cut, there is a special emotion in one place of the vertebral column.

If the finger is crushed by the blow of a hammer, the emotion will affect a special vertebra.

The nose is one of the most complex and important agents.

There are here nine divisions to be studied. (See page 82.)

Chapter IX.

Of Gesture in Relation to the Figures which Represent It.

Gesture through its inflections may reproduce all the figures of geometry.  We shall confine ourselves to a description of the primary and most usual imitative inflections.

These inflections comprise three sorts of movements affected by each gesture, which usually unite and constitute a synthetic form.  These three movements agree with the three primary actions which characterize the manifestations of the soul, the mind and the life.  These are direct, circular and oblique inflections.

The flexor movements are direct, the rotary movements circular, the abductory movements oblique.  The sum of these movements constitutes nine co-essential terms, whose union forms the accord of nine.

There are rising, falling and medium inflections.

Gesture does everything that the voice does in rising.  Hence there is great affinity between the voice and the arms.  Vocal inflection is like the gestures of the blind; in fact, with acquaintance, one may know the nature of the gesture from the sound of the voice.

We exalt people by a circle.  We say that a thing is beautiful, noble, grand—­making circles which grew higher and broader as the object is more elevated.

We choose the circle for exalting and caressing, because the circle is the most agreeable form to touch and to caress.  For example, an ivory ball.