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. 80 These are the simple primary postures of the whole arm, which, with the latitude allowed, will be found sufficient to represent most of the ordinary gestures. By the latitude al lowed, the reader is to understand that deflexion from the true point in reference to which the posture is named: since a near approach to the proper point is sufficient to give the posture the name of that point. The collo quial eleva. tions of the arm (Fig.42, 43, 44), are less bold than the primary postures. The fore arm, in the horizontal elevation, instead of being raised to the h d tamer 43 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 chosen, 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 arm, at the elbow, is bent, and the upper arm held closer to the side. The degree of energy proceeding from the sentiment of desire, or aversion, with which a passage is delivered, influences much the character of the gesture, in the same manner that it does the tones and expressions of the voice; the language still remaining unaltered. If the passage to be delivered may properly be illustrated by the arm in the posture horizontal extended (hx), the degree of that extension should vary with the spirit of 45 the passage. If an object is simply pointed to in the hori-x zon, the arm should be moderately extended (Fig. 45), and slightly bent at the shoulder, the elbow, and the wrist. If the object is highly interesting, and supposed to be in the same situation as if a general pointed to those troops which he required to be instantly sustained, the arm should be extended to the utmost, the wrist thrown up, and the fingers down, whilst 47 46 the whole body should be projected forwards. (Fig |