EXPRESSION OF TOUCH. 255 



sympathetic movements are combined with the direct move- 

 ments produced in the affected organs. When taste is con- 

 cerned, it is very rare that they are not confounded, for 

 almost always the aroma is combined with the taste, and 

 either perfects its excellence or renders it still more insup- 

 portable. But whether it expresses satisfaction or antipathy, 

 the play of the physiognomy in sensations of this nature has 

 nothing elevated in it, rather it unveils a certain abasement 

 of the individual; hearing and sight are in immediate con- 

 nection with the most precious faculties of the mind, while 

 taste and smell appeal specially and directly to our material 

 appetites. But we must not therefore judge too severely the 

 elation- of a gourmand seated at a well-spread table. The 

 best compliment he can oifer to his host is to show a worthy 

 appreciation of an exquisite repast. We shall see the spirit 

 of our guest, vivified by the sweet influence, shine from his 

 eyes with a light which will easily enable us to pardon what 

 little of sensuality there is in his mouth. 



It is by the sense of touch that we acquire clear ideas of the 

 form of bodies, of the distance, resistance, weight, tempera- 

 ture, &c. It confirms the testimony of our eyes, and joins 

 its impressions to those of sight often in an effective manner, 

 and always through the mind. 



The touch produces expressive movements in us then, in 

 connection with our tactile or visual sensations; and these 

 movements are sometimes direct, as in effort, and sometimes 

 sympathetic and an indication of the impressions produced 

 on the skin. Lastly, touch is the origin of symbolical move- 

 ments by which we express the thought of bringing an ob- 

 ject near, or putting it away from us. To this sense are re- 

 lated the gestures which accompany our words. W T e affirm 

 a fact by so placing the hand as if we would rest it firmly on 

 a body; we deny by a gesture putting the false or erroneous 

 proposition away from us; we express doubt by holding the 

 hand suspended, as if hesitating whether to take or reject. 

 When we part from dear friends, or greet them again after 

 long absence, the hand extends towards them as if to retain, 

 or to bring them sooner to us. If a recital or a proposition 

 is revolting, we reject it energetically in gesture as in thought. 



