more elevated heart, that one the least elevated; this one in the
matter, that one in the spirit of his discourse."

All gestures may be very well delineated. An orator gesticulating before
the public, resembles a painter who pencils outlines and designs upon a
wall.

This reproduction of the figures of gesture is called _Chorography_. We
give in the subjoined chart some types of gesture. These are a few
flowers culled from a rich garden.

To express sensual grace the gesture takes the downward spheroidal form.
The virtuous form would be upward.

If we wish to express many attractive things, we make many spheroidal
gestures.

What is called the culminating point of the gesture, must not be
forgotten. This is a ring in the form of the last stroke of the German
letter D, which is made by a quick, electric movement of the wrist.

We refer the student to the close of the volume, for a model of
exercises comprising a series of gestures which express the most
eloquent sentiments of the human heart.

This exercise in gesture has two advantages: it presents all the
interest of the most fascinating drama, and is the best means of gaining
suppleness by accustoming ourselves to the laws of gesture.

[Illustration: Criterion of Chorography.]

[Illustration: Inflective Medallion.]

The vertical line 1 expresses affirmation. The horizontal line 2
expresses negation. The oblique line 3 rejects despicable things. The
oblique line 4 rejects things which oppress us, of which we would be
freed.

5. The quarter-circle, whose form recalls that of the hammock, expresses
well-being, happiness, confidence.

6. The curvilinear eccentric quarter-circle expresses secrecy, silence,
possession, domination, stability, imposition, inclusion.

7. The curvilinear outside quarter-circle expresses things slender,
delicate (in two ways); the downward movement expresses moral and
intellectual delicacy.

8. The outside quarter-circle expresses exuberance, plenitude,
amplitude, generosity.

9. The circle which surrounds and embraces, characterizes glorification
and exaltation.

Part Third.

Articulate Language.

Chapter I.

Origin and Organic Apparatus of Language.

Man reveals his life through more than four millions of inflections ere
he can speak or gesticulate. When he begins to reason, to make
abstractions, the vocal apparatus and gesture are insufficient; he must
speak, he must give his thought an outside