As may be seen, this chart is an exact reproduction of the criterion explained at the beginning of this book, only we have adorned it with colors analogous to the different states of the soul that art is called upon to reproduce.

Beginning with the three transverse columns corresponding to the genus, we have painted the lower column red, the middle column yellow, and the upper one blue.  These are the three colors that symbolize the life, soul and mind, as well as the genera.

Passing to the vertical columns which correspond to species, we have painted the first column red, the second yellow, and the third blue, passing from left to right.  The blending of these colors produces the variety of shades we might have in this representation.

Blue added to blue gives indigo; blue with yellow gives a deep green; with red, violet.  Yellow passed over to the middle column, gives bright green upon blue; pure yellow, when passed upon yellow, and orange upon red.

Thus pure red will be the expression of the sensitive state or the life.  Orange will render soul from life, and violet will be the symbol of mind from life.

Applying this process of examination to the two other columns, we shall know by one symbolic color, what the soul wishes at the present hour, and these same colors will, besides, serve to regulate the attitude of our organs.

Honor and thanks to the genius which gives us this criterion, where is reflected the harmony of all worlds!

Epilogue.

In this rational grammar of the art of oratory, I have given the rules of all the fine arts.  All arts have the same principle, the same means and the same end.  They are akin, they interpenetrate, they mutually aid and complete each other.  They have a common scope and aim.  Thus, music needs speech and gesture.  Painting and sculpture derive their merit from the beauty of attitudes.  There is no masterpiece outside the rules here laid down.

It is not enough to know the rules of the art of oratory.  He who would become an orator, must make them his own.  Even this is not enough for the free movement of the agents which reveal the mind, the soul and the life.  The method must be so familiar as to seem a second nature.  Woe to the orator if calculation and artifice be divined in his speech!  How shun this quicksand?  By labor and exercise.  The instruments and the manner of using them are in your hands, student of oratory.  Set about your work.  Practice gymnastics, but let them be gymnastics in the service of the soul, in the service of noble thoughts and generous sentiments—­divine gymnastics for the service of God.

Renew your nature.  Lay aside the swaddling-bands of your imperfections, conform your lives to the highest ideals of uprightness and truth.  Exercise your voice, your articulation and your gestures.  If need be, like Demosthenes, place pebbles in your mouth; repair like that great orator to the sea-shore, brave the fury of the billows, accustom yourself to the tumult and roar of assemblies.  Do not fear the fracture or dislocation of your limbs as you seek to render them supple, to fashion them after the model, the type you have before your eyes. Labor omnia vincit.