becomes a _nulliped_. If art replaces the loss of one limb with a
factitious substitute, he becomes a _ligniped_, or, if we wish to be
very precise, a _uni-ligniped_; two wooden legs entitle him to be called
a _biligniped_. Our terminology being accepted, we are ready to proceed.

To make ourselves more familiar with the working of the invention we are
considering, we have visited Mr. Palmer's establishments in Philadelphia
and Boston. The distinguished "Surgeon-Artist" is a man of fine person,
as we have said. But if he has any personal vanity, it does not betray
itself with regard to that portion of his organism which Nature
furnished him. There is some reason to think that Mr. Palmer is a little
ashamed of the lower limb which he brought into the world with him. At
least, if he follows the common rule and puts that which he considers
his best foot foremost, he evidently awards the preference to that which
was born of his brain over the one which he owes to his mother. He walks
as well as many do who have their natural limbs, though not so well as
some of his own patients. He puts his vegetable leg through many of the
movements which would seem to demand the contractile animal fibre. He
goes up and down stairs with very tolerable ease and despatch. Only when
he comes to _stand_ upon the human limb, we begin, to find that it is
not in all respects equal to the divine one. For a certain number of
seconds he can poise himself upon it; but Mr. Palmer, if he indulges
in verse, would hardly fill the Horatian complement of lines in that
attitude. In his anteroom were unipeds in different stages of their
second learning to walk as lignipeds. At first they move with a good
deal of awkwardness, but gradually the wooden limb seems to become, as
it were, penetrated by the nerves, and the intelligence to run downwards
until it reaches the last joint of the member.

Mr. Palmer, as we have incidentally mentioned, has a branch