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 Apr 12, 2007 03:11 PDT 

Here is a description of a book I have for sale at my ebay store


Author Nicole Boille, Publisher Scriptor Books, London 2004
315 pages, 125 handwriting samples, 56 Tables ISBN 1-8996539-5-3
Price : £29.50

Boille: The Graphic Gesture, Creative Gesture
Book review Copyright by Nigel Bradley

The development of any branch of knowledge follows three important
phases. Firstly an exploratory phase, where hypotheses are developed;
secondly a descriptive phase whereby different opinions are
documented and debated; finally there is a `consensus' phase where
principles are agreed. One could say that graphology has followed
this sequence. This book fits into the final phase, it must be the
most up-to-date record of status of graphology in 1998. The author
successfully summarises three hundred years of graphological
development and provides a body of knowledge, a didactic tool that
equips the reader with the skills necessary to conduct professional

The book, The Graphic Gesture, Creative Gesture, is divided into four
I. Graphological Principles and Methods
II. Graphological Methodologies
III. Handwriting Evolution
IV. Psychology and Graphology
These four parts break into 15 chapters which in turn provide 56
tables and 125 writing specimens.

The specimens are valuable in their own right in that they related to
famous poets, painters, philosophers, musicians, architects and also
famous graphologists. Such names as Napoleon, Nietzsche, Beethoven,
Saint-Saens, Ghandi, Freud, Bergson, Paganini stand alongside Pulver,
Klages, Moretti, Michon, Crepieux-Jamin, to describe the basic
elements of graphology.

The current status of graphology owes a great deal to the “discovery”
of the graphic signs. Crepieux-Jamin described the main species in
his book, ABC de la Graphologie, published in 1929. A major addition
to this set was made by Gille-Maisani in his book, Psychology of
Handwriting, first published in 1969. Gille's 32 additional signs
were based on his observations of other graphological systems and
writings. He drew on authors such as Klages, Delamain, Faideau,
Michon, Solange, Pellat, Carton, Langenbruch, Ammon, Loeffler-
Delachaux, Moupin, Lecerf, Kintzel-Thumm (Ivanovic), Bernard, von
Ravensburg, Beauchataud, Ungern-Sternbert, Bresard, Hartge, Zanetti,

Boille's book successfully integrates this knowledge and a glimpse at
her background helps to explain how this has been achieved. She
studied with the Societe Francaise de la Graphologie in the 1970s,
and was a student of Teillard and Marcelle Desurvire. In Rome she
became intimately acquainted with Italian schools of graphology,
particularly Moretti, and established herself as an expert witness.
In 1981 she founded ARIGRAF, the Association for Graphological
Research and, with a Psychology Degree from the University of Rome
(La Sapienza), was well placed to teach graphology at the Rome
University LUMSA. This background is clearly reflected in the ample
bibliography which carries over 250 items, 56% in French, 36% in
Italian and the remainder in other languages. She has been
responsible for numerous publications, including Italian translations
of Gille-Maisani's book and Peugoet's Manual of Graphology.

Her collaboration with Gille-Maisani is well known. He visited her
regularly on his European visits and even left his valuable library
to her after his death. The book is dedicated to his memory. Boille
therefore has an impeccable preparation, and another seal of approval
comes with the foreword provided by Lamberto Torbidoni. Torbidoni has
led Italian graphology to its current acceptability at University

The contents are rich, moving from classic knowledge to more recent
developments such as graphometry, sublimated writing (aptly
attributed to Renna Nezos) and judicial issue. Her psychological
teachings are well represented and build a strong bridge between the
disciplines of graphology, psychology and psychoanalysis.

The reader will be pleased to find a glossary exceeding 150
graphological terms, reminiscent of that provided in Torbidoni's
Graphology Text Book, which focuses on Moretti terminology. The
difference here is that the signs of French and Italian Graphology
are combined. It would appear that where there is a conflict (for
example between Moretti's filiforme - meaning light, and CrŽpieux-
Jamin's filiform - meaning thready), the French nomenclature is
chosen. Where it is deemed appropriate she adds Moretti's terms in
parentheses (e.g. spadiforme is mentioned beside the sign
gladiolata). There are interesting problems associated with combining
these diverse schools - exemplified by the Italian term scanciata
which is a homonym - it can mean both thready and soaring. Boille has
clearly mastered such linguistic obstacles.

It is impossible to provide a review that does justice to such a
powerful, well prepared text book. It is another example of the top
quality and highly professional works that have recently been
published in Italy. One hope that publishers will commission
translations and make such tools available elsewhere.

Description from Scriptor Books

GRAPHOLOGY is a term first coined in the late nineteenth century by Jean
Hippolyte Michon and now in common use to describe a distinct human
science which in Italy recently attained university status. The pioneers
of graphology were Michon and Jules Crépieux-Jamin in France, the
undisputed master Girolamo Moretti in Italy, Ludwig Klages in Germany,
and Max Pulver in Switzerland. Several academic traditions now flourish,
those of the Société Française de Graphologie and the Scuola Superiore
of Urbino being among the more structured and well established.

As an interdisciplinary study, graphology seeks to integrate a solidly
researched core with educational, medical, neurophysiological,
psychoanalytic, and statistical approaches, without obscuring its
origins in the cultural anthropology of handwriting. Graphology draws
upon its own theories and techniques for the study of the ‘graphic
gesture’ that reveals the human essence.
Our graphic gesture, whether spontaneous or laboured, indelibly
distinguishes each one of us. We can trace its evolution from the first
scribble to the developed adolescent hand. We can look for ‘alarm
signals’ that foreshadow future problems or show the lingering effects
of early experiences. We can trace the hidden forces behind mental
suffering and predict the risks of deviancy or uncontrolled aggression.

Graphologists, then, analyse writing over time to evaluate intelligence
and attitudes, tendencies and motivations, emotions and the dynamic
between the conscious and unconscious.

Observation of handwriting may help to bring us closer to the sources of
creativity inherent in us all. Our graphic gesture is a silent witness
to the moment when our handling of the basic writing model becomes a
creative gesture.

NICOLE BOILLE is a graduate in psychology of the La Sapienza University
of Studies of Rome and holds diplomas from the Société Française de
Graphologie and the Groupement des Graphologues-Conseils de France. She
is founder and president of ARIGRAF, the Associazione italiana di
ricerca grafologica, based in Rome. She teaches comparative graphology
at the Lumsa Facoltà di Scienze della Formazione in Rome.

Among her publications are: Arte, critica, psicoanalisi, grafologia,
Rome 1987, Écritures italiennes in Pierre Faideau’s Les Bases de la
graphologie, Paris 1989, and Oltre il bianco. Panorama sulla grafologia,
1998. She writes for specialist journals.


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