trepidation; if pleasing, with gentle motion. (Fig. 99.) The figure is listening fear.

Admiration, if of surrounding natural objects, of a pleasing kind, holds both hands vertical, and across, and then moves them outwards to the position extended as in the figure. (Fig. 100.) In admiration arising from some extraordinary or unexpected circumstances, the hands are thrown up supine elevated, together with the face and the eyes.

Veneration crosses both hands on the breast, casts

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down the eyes slowly, and bows the head. (Fig. 101.) Deprecation advances in the extended position of the feet, approaching to kneeling, clasps the hands forcibly together throws back the head, sinking it between the shoul

ders, and looks earnestly up to the person implored.

(Fig. 102.)

In appealing to heaven, the right hand is laid on the breast, then the left is projected supine upwards; the eyes are first directed forwards, and then upwards. (Fig. 103.)

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 (Fig. 80, p. 99); sometimes both hands press the breast.

Shame in the extreme sinks on the knee, and covers the eyes with both hands. (Fig. 104.) This is a feminine expression of it.

Mild resignation falls on the knee,

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crosses the arms on the breast, and looks forwards and upwards towards heaven. (Fig. 105.)

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 Fig. 106, from an attitude of Mrs. Siddons.

Grief arising from sudden and afflicting intelligence, covers the eyes with one hand, advances forwards, and throws back the other hand. (Fig. 107, and Fig. 81, p.99.)

Attention demanding silence, holds the finger on the lips, and leans forwards, sometimes repressing with the left hand. (Fig. 82, p. 99.)

Distress, when extreme, lays the palm of the hand upon the forehead, throws back the head and body, and retires with a long and sudden step. (Fig. 83. p. 99. Deliberation on ordinary subjects, holds the chin and sets the arm a-kimbo. (Fig. 84, p. 99.)

Self-sufficiency folds the arms, and sets himself on his centre. (Fig. 48, p. 92.) This was a favourite posture of Bonaparte.

Pride throws back the body, and holds the head high. These few complex significant gestures are some of the most obvious, and principally such as occurred in the illustration of other parts of this system; they serve, however, in some degree, to explain the nature of these gestures. But among the writers who have treated particularly of significant gestures, none have written with greater ingenuity than Engel: we will borrow, therefore, an example or two from him.

Surprise causes the body and lower limbs to retire and affection stimulates the person to advance. (Fig. 108.) The figure represents Frederick de Reuss, in a German play, who unexpectedly sees his dear friend.

He withdraws, in surprise, his body and lower limbs, and, in the ardour of friendship, immediately stretches forwards his head and his arms.

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 similar circumstances, quite altered. The eyes, instead of moving freely from object to object, become fixed, and the head is thrown back, if be

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fore 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, in a situation of great difficulty and delicacy. In the commencement of his deliberations he is represented as in Fig. 109, and in the next period of them, as in Fig. 110.

These examples are introduced by M. Engel to illus

trate his analogous gestures, but they may also be very well applied to illustrate the complex, significant gestures, which are the present subject of investigation. The description which he gives of melancholy, contrasted with anxiety, is, throughout, correct, and full of nice discrimination.

Melancholy is a feeble and passive affection; it is attended by a total relaxation of the muscles, 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 upon the ground, the hands hanging down by their own weight, without effort, and joined loosely together. (Fig. 111.)

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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, the whole body is

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extended. The sufferer is like a sick man, who tosses incessantly, and finds himself uneasy in every situation. (Fig. 112.)

One of the causes of M. Engel's gestures of analogy is, as he observes, the "disposition of the mind to refer intellec tual ideas to external objects. When king Lear recollects the barbarous treatment of his daughters, who, in the midst of a stormy night, had exposed his hoary head to the inclemency of the weather; and when he immmediately exclaims

O that way madness lies; let me shun that;
No more of that,

there is not, in reality, any external object from which this unhappy prince should avert his eyes with horror and yet he turns his head away to the side opposite that to which it was directed before, endeavouring, as