The four sentences (labelled 1, 2, 3, and 4) given below, when properly sequenced, would yield a coherent paragraph. Decide on the proper sequencing of the order of the sentences and key in the sequence of the four numbers as your answer.

1. The effigy of a candidate establishes a personal link between him and the voters; the candidate does not only offer a programme for judgement, he suggests a physical climate, a set of daily choices expressed in a morphology, a way of dressing, a posture.

2. Some candidates for Parliament adorn their electoral prospectus with a portrait; this presupposes that photography has a power to convert which must be analysed.

3. Inasmuch as photography is an ellipse of language and a condensation of an ‘ineffable’ social whole, it constitutes an anti-intellectual weapon and tends to spirit away ‘politics’ (that is to say a body of problems and solutions) to the advantage of a 'manner of being', a socio-moral status.

4. Photography tends to restore the paternalistic nature of elections, whose elitist essence has been disrupted by proportional representation and the rule of parties (the Right seems to use it more than the Left).

The correct sequence is 2143.

To determine the most coherent sequence for these sentences, we need to find the logical flow of ideas, starting with the broadest introduction of the topic and moving toward more specific analyses or conclusions.

Step 1: Identifying the Opening Sentence
Sentence 2 is the best opening sentence because it introduces the central theme of the paragraph: candidates using portraits (photography) in their electoral prospectuses. It sets up the premise that "photography has a power to convert which must be analysed." This naturally invites further sentences to provide that very analysis. None of the other sentences work well as an introduction; they all refer to concepts or arguments that require prior context.

Step 2: Finding the Follow-up (Link between 2 and 1)
Sentence 1 directly answers the prompt created by Sentence 2. While Sentence 2 introduces the "portrait," Sentence 1 refers to this portrait as an "effigy." It begins the analysis by explaining how the portrait works: it establishes a "personal link" between the candidate and the voters. It contrasts a standard political "programme" with the visual impact of photography, which provides a "physical climate," "a way of dressing," and "a posture." Thus, 1 logically follows 2.

Step 3: Expanding the Analysis (Link between 1 and 4)
After establishing that photography creates a personal, physical link (Sentence 1), Sentence 4 broadens the scope to explain the political consequence of this personal link. It argues that photography "tends to restore the paternalistic nature of elections." This paternalism relies on the strong, personal, individual image of a candidate (the very image described in Sentence 1), which contrasts with the more impersonal "rule of parties."

Step 4: The Concluding Thought (Link between 4 and 3)
Sentence 3 acts as the perfect conclusion to this logical chain. It summarizes why the shift toward a personal, paternalistic image happens. It states that photography acts as an "anti-intellectual weapon" that spirits away actual "politics" (the party rules and programs mentioned earlier) and replaces it with a focus on a "manner of being" or a "socio-moral status." This directly connects back to the physical "posture" in Sentence 1 and the "paternalistic nature" in Sentence 4, tying all the arguments together.

Therefore, the logical progression flows from introducing the portrait (2), to describing its physical impact on the voter (1), to its effect on the nature of elections (4), and finally to a philosophical conclusion about how it undermines intellectual politics (3). This makes the correct sequence 2143.