Admiration, if of surrounding natural objects of a pleasing kind, holds both hands vertical and across, and moves them outwards to the position, extended as in Figure 80. If admiration arises from some extraordinary or unexpected circumstances, the hands are thrown up supine elevated, together with the countenance and the eyes.

Veneration crosses both hands on the breast, casts down the eyes slowly, and bows the head. (See Fig. 81.)

Deprecation advances in an extended position of the feet, approaching to kneeling, clasps the hands forcibly

together, throws back the head, sinking it between the shoulders, and looks earnestly up to the person implored. (See Fig. 82.)

In appealing to heaven, the right hand is first laid on the breast, then the left is projected supine upward; the eyes first directed forward, and then upward. (See Fig. 83.)

In the appeal to conscience, the right hand is laid on the breast, the left drops unmoved, the eyes are fixed upon the person addressed. (See Fig. 23.)-Sometimes both hands press the breast.

Shame, in the extreme, sinks on the knee and covers the eyes with both hands: this is a feminine expression of it. (See Fig. 84.)

Fig. 84.

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Mild resignation falls on the knee, crosses the arms on the breast, and looks forward and upward towards heaven. This is also a feminine expression of this feeling. (See Fig. 85.)

Resignation mixed with desperation stands erect and unmoved, the head thrown back, the eyes turned upward and fixed, the arms crossed. A fine instance is seen in the figure from an attitude of Mrs. Siddons. (See Fig. 94.)

Grief arising from sudden and afflicting intelligence covers the eyes with one hand, advances forward and throws back the other hand. (See Fig. 86.)

Attention demanding silence holds the finger on the lips, and leans forward, sometimes repressing with the left hand. (See Fig. 87.)

Fig. 87.

Fig. 88.

Fig. 89.

Distress, when extreme, lays the palm of the hand upon

the forehead, throws the head and body back, and retires with a long and sudden step. (See Fig. 88.)

Deliberation on ordinary subjects holds the chin, and sets the arm a-kimbo. (See Fig. 89.)

Self-sufficiency presents the body erect, the lower limbs rigid, and folds the arms. (See Fig. 67.)

Pride throws back the body, holds the head high, and presents the elbow a-kimbo, and thrown forward as in Fig. 68.

When the thoughts flow without difficulty or opposition, the movement of the limbs is free and direct. But when difficulties occur or obstacles are discovered, a man either arrests his action entirely, or changes it to something altogether different. The direction of his eyes and the action of his head, are also, under such circumstances, quite altered. The eyes, instead of moving freely from object to object, become fixed, and the head is thrown back, if before hanging down on the breast. As an example of these effects, M. Engel refers to a scene in a play of Lessing, in which an old gentleman is very much puzzled how to manage, under a situation of great difficulty and delicacy. In the commencement of his deliberations he is represented as in Fig. 90, and in the next period of them, as in Fig. 91.

Fig. 90.

Fig. 91.

Melancholy is a feeble and passive affection; it is attended by a total relaxation of the nerves, with a mute and tranquil resignation, unaccompanied by opposition either to the cause or the sensibility of the evil. The character externally is languor without motion; the head hanging at the side next the heart;" the eyes turned upon its object, or, if that is absent, fixed on the ground; the hands hanging down by their own weight without effort, and joined loosely together. (See Fig. 92.)

Fig. 92.

Fig. 93.

Anxiety is of a different character; it is restless and active, and manifest by the extension of the muscles; the eye is filled with fire, the breathing is quick, the motion is hurried, the head is thrown back, and the whole body is extended. The sufferer is like a sick man who tosses incessantly, and finds himself uneasy in every situation. (See Fig. 93.)

I shall close this part of the subject and the work, by presenting the learner with some of the attitudes of Mrs. Siddons, copied from the plates of the Chironomia, from which all the illustrations of this section have been taken.