he 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