REMARKS ON THE FIGURES OF PLATE XL. 
SS ee 
THE ARCHETYPE COSTO-VERTEBRAL SERIES UNDERGOES A STRUCTURAL METAMORPHOSIS AT THE CERVICAL, 
VENTRAL, AND PUBIC REGIONS. 
pate laws are evidences of the continuity and sameness of operation; and express, in abstract 
or general terms the force or agency which yields a plurality of facts, creations, or phenomena, 
in sequent and relationary order. These facts, having an analogy or conformity of character, express 
by their own common nature the common law which has yielded them as creations. The similitude 
apparent between the units of a plural number indicates the uniformity of the creative force or law. 
Skeleton series is a collective or plural condition of development, and all those units of which it is 
comprised yield an evidence of a common law presiding over them, through their continuous order, from 
first to last. This law is the subtraction of quantity from few or many of those original plus units 
which constitute series, and it is observed that design moves after this operation in equal paces. The 
subtraction of quantity is never carried beyond what the design requires; and consequently, the design 
is the exact measurement of the degree to which metamorphosis has taken place. Metamorphosis is 
the cause, design is the effect, and both cause and effect yield the phenomenon or appearance. The 
antecedent is equal to the consequent in all things. The shadow of a sun-dial is the sure index of Sol’s 
station and the time. Metamorphosis is a law no less indicative of the graduated and serial progress 
of the sun of design. A serial creation of plus quantities, when submitted to the law of graduated 
metamorphosis, is rendered in graduated condition, and thereby expresses how far this law has operated, 
as also how the design has occurred. Hence, plus series being the ens of original standard quantity, we 
may regard metamorphosis as an antecedent force, or law, whose progress in proportioning strikes out the 
equal ratio of design. Original plus uniformity is that standard whereunto all minus variation and design 
is to be referred for explanation. 
The whole quantities are thoracic. The minus propor- | archetype quantities are uniform. These proportional 
tionals of such quantities are those which we find in the 
The law 
of proportioning is the law of formation, and the skeleton 
cervix, lumbar spine, sacral and caudal spine. 
figure, such as we find it, is the result of this same law. 
In fig. A, all the cervical units marked 1, 2, 3, 4, 5, 6, 7, 
are the proportionals of such serial archetype units as 
those marked 8, 9, 10,11, 12, 18,14, these latter are the 
completed persistent archetype quantities which describe 
the circle from the dorsal to the ventral median line. Of 
such quantities as these have also been proportioned the 
asternal forms marked 15, 16, 17, 18, 19. These are the 
asternal thoracic proportionals, which mean nothing more 
or less than that they are minus the sternal quantity. 
Again, in the lumbar units marked 20, 21, 22, 23, 24, we 
still read the proportional quantities of such archetypes as 
8, 9, &c. And in the sacral units from that marked 25 to 
the last caudal ossicle, the same law of proportioning has 
fashioned them from the like archetype originals. Those 
quantities of such archetypes are only proportionally 
various to them and to each other. 
In fig. A we therefore interpret that the cervical hiatus 
which’ occurs between the lower maxilla and the first costo- 
sternal piece marked 8d, has been thus rendered void by 
the annihilation of skeleton coste. Again, in that space 
which ranges between h, the ziphoid cartilage, and , the 
pubic symphysis, the like void happens by reason of the 
lost costal quantities. The cervical and ventral regions of 
series are minus. Minus what forms or quantities ? 
Minus such costz as persist at the thoracic region of the 
same series. From plus to minus therefore we track 
the law of design. 
The sacral quantities of fig. A are also minus quantities 
compared with the thoracic archetypes. Standing anterior 
to the sacral proportionals, we find the pubic and ischiadic 
arches just as the costee themselves arch anterior to the 
dorsal vertebral proportionals. Now we see that all the 
