lique circles, ZbRqZ, and ZcRbZ (crossing the right and primary circle at an angle of forty-five degrees), the horizontal circle b h cfqhb (the plane of which passes through the projecting point), and the two smaller circles be qfceb, and bdcfq db, parallel to it, above and below, at the distance of forty-five degrees. The human figure is so placed within this sphere, that the internal central point between the shoulders, is the centre of the sphere. The postures and motions of the arms are referred to, and determined by, the points at which the circles intersect each other.* The circle marked q, for the right arm, becomes c for the left, and the contrary. According to this scheme, the postures of the arms are determined, and noted as follows: First, in the Vertical Direction. When the arm hangs down, at rest, Fig. 23, it is noted When directed downwards, within forty-five degrees of the nadir, Fig. 27 to 31, it is noted When directed towards the horizon, Fig. 32 to 36 h. When elevated forty-five degrees above the horizon, Fig. 37 to 41 When pointing to the zenith, Fig. 24 Second, in the Transverse Direction. When the arm is extended as far as convenient, across the body, say forty-five degrees from the right circle, Z ƒ R, Fig. 27, 32, 37, it is noted When extended in the plane of the right circle, or directly forward, Fig. 28, 33, 38 When directed forty-five degrees obliquely from this position, Fig. 29, 34, 39 When in the plane of the primary circle, Fig. 30, 35, 40 e. In speaking of angles and elevations, determined by degrees, mathematical precision is not intended, and is not necessary: it is sufficient for the present purpose that the position described should be nearly in the angle or direction mentioned. When forty-five degrees backwards of this position, Fig. 31, 36, 41 b. From the combination of the three vertical and five transverse positions (Fig. 24 and 25), exclusive of the positions R and Z, fifteen primary positions of the arms are formed. In the illustration of these primary positions of the arms, all the figures in the upper line (Fig. 27 to 31), direct the arm downwards, but to different points in the transverse circle; all the figures in the second line (Fig. 32 to 36), direct the arm towards the horizon; and all those in the third (37 to 41), elevate it towards the upper transverse circle. If they are taken in the vertical direction, those in the first column (27 32, 37), point across; those in the second (28, 33, 38), forwards; those in the third (29, 34, 39), oblique; those in the fourth (30, 35, 40), extended; those in the fifth (31, 36, 41), backwards. The Fifteen Primary Postures of the Arms more particularly noted. Fig. First Line. 27 directs the arm downwards across, downwards forwards, 28 66 66 29 66 66 downwards extended, horizontal extended, Third Line. 37 directs the arm elevated across, Noted. dc. df. dq. dx. db. hc. hf. hq. hx. hb. 32 directs the arm horizontal across, horizontal forwards, ec. less bold than the primary postures. The fore arm, in the horizontal elevation, instead of being raised to the height of the shoulder, points about as high as the middle of the breast; the hand, in the elevated. position, is not raised above the eyes; and in the position downwards, it is held but little below the waist. In delineating the primary postures, the boldest and most decided action has been cho sen, which is suited to the epic style; because, in this style, the different postures are the most strongly discriminated. The colloquial elevations are similar, but In them the distinctive character is, that the 44 |