|
| A | | A |
| C | | C |
| E | | E |
| . | | . |
| +------------------------------------+--------+
| / | /
| / LOWER SURFACE. | /
| / | /
| / To sustain. | /
| / | /
| / | /
| / | /
|/ |/
+---------------------------------------------+

Table of the Normal Character of These Nine Attitudes.

/ 2. Concentric . . Conflict.
|
2. Concentro.< 3. Normal . . . . Power.
|
\ 1. Eccentric . . Convulsion.

/ 2. Concentric . . Prostration.
|
3. Normo. < 3. Normal . . . . Abandon.
|
\ 1. Eccentric . . Expansion.

/ 2. Concentric . . Execration.
|
1. Eccentro. < 3. Normal . . . . Exaltation.
|
\ 1. Eccentric . . Exasperation.

These nine physiognomies of the hand modify those of the face, often
supply their place and sometimes even contradict them. When they are
appropriate to the hand and face alike, there is homogeneity. The
expression of the hands results from the cooeperation of three orders of
phenomena. The first order comprises the intrinsic physiognomies assumed
by the hand under the influence of the passions. The second order
comprises the attitudes assumed by the hand toward the object of the
passion. The third order comprises the evolutions impressed upon the
hand by the body, fore-arm and shoulder. These evolutions are so many
inflections.

We know the nine attitudes appropriate to the hand, and the nine
attitudes designated by the nine modes of presentation of the hand in
regard to the cubic surfaces. We must examine the nine inflections which
arise in the first instance from the three directions, antero-posterior,
vertical and transverse.