Part 2 (2/2)

In his division of thethe inward eates to physiology cases ”when the internal passions are expressed by such external signs as have a natural connection, by way of cause and effect, with the passion they discover, as laughing, weeping, frowning, &c, and this way of interpretation being cos to natural philosophy And because this goes not far enough to serve the rational soul, therefore, y, interpretation by sounds conveyed through the ear; Schey, by y is itself divided into Typology or Gray The latter eers, which of all other ways of interpretation coue”

As a phase in the practice of gestures in lieu of speech must be mentioned the code of the Cistercian ious exercises That they ed to invent a systeiven by Leibnitz, but does not show enuity

A curious description of the speech of the early inhabitants of the world, given by Swedenborg in his _Arcana Coelestia_, published 1749-1756, may be compared with the present exhibitions of deaf-mutes in institutions for their instruction He says it was not articulate like the vocal speech of our ti produced not by external respiration, but by internal They were able to express their es of the face

[Illustration: Fig 64--Group from an ancient Greek vase]

Austin's comprehensive work, _Chironomia, or a Treatise on Rhetorical Delivery, London_, 1806, is a repertory of inforiven credit to it, as well as on all branches of oratory This has been freely used by the present writer, as has also the voluli Antichi investigata nel Gestire Napoletano, Napoli_, 1832 The canon's chief object was to interpret the gestures of the ancients as shown in their works of art and described in their writings, by the esticulations of the Neapolitans, and he has proved that the general syste in ancient Italy is substantially the sauage of gesture the scenes on the most ancient Greek vases and reliefs obtain a new and interesting significance and for link between the present and prehistoric tis 64 and 67, with such explanation and further illustration as is required for the present subject

The spirited figures upon the ancient vase, Fig 64, are red upon a black ground and are described in the published account in French of the collection of Sir John Coghill, Bart, of which the following is a free translation:

Dionysos or Bacchus is represented with a strong beard, his head girt with the crede folded tunic, above which is an a a thyrsus Under the forenius of the table, plays on the double flute and tries to excite to the dance two nymphs, the companions of Bacchus--Galene, Tranquility, and Eudia, Serenity The first of the a tympanum or classic drum on which she is about to strike, while her coers, which custoue wisely states is still kept up in Italy in the dance of the tarantella The coorically that pure and serene pleasures are benefits derived fro 65]

[Illustration: Fig 66]

This is a fair exaestures of the two nyht exa to do with beat of druh it is not so clear what is the true subject under discussion

Aided, however, by the light of the e of Naples, there see, but a quarrel between the ladies, on a special subject which is not necessarily pure The nymph at the reader's left fixes her eyes upon her companion with her index in the sa, _thou_ That the address is reproachful is shown froreater certainty fro one of her companion, who raises both her hands in surprise accoht hand raised toward the shoulder, with the palm opposed to the person to whom response is made This is the rejection of the idea presented, and is expressed by son of the Dakota tribe of Indians with the sae 441, _infra_ At the same time the upper part of the nymph's body is drawn backward as far as the preservation of equilibrium permits So a reproach or accusation is made on the one part, and denied, whether truthfully or not, on the other Its subject also may be ascertained

The left hand of Eudia is not mute; it is held towards her rival with the balls of the index and thun for _love_, which is drawnof the thu the ancient classics it was a sign of e St Jeroitorum conjunctio, et quasi it et conjugeesture as used in the adoration of Venus, by the words ”_priesture is one of the few out of the large nureat work, the significance of which is explained It is ruel_, Book III, Ch XX), who lifted up into the air his left hand, the whole fingers whereof he retained fistways closed together, except the thuer, whose nails he softly joined and coupled to one another ”I understand, quoth Pantagruel, what he e” The quarrel is thus established to be about love; and the fluting satyr seated between the two nymphs, behind whose back the accusation is furtivelywhom jealousy is manifested Eudia therefore, instead of ”serenely”

, ”Galene! you bad thing! you are having, or trying to have, an affair with my Comus!”--an accusation which this writer verily believes to have been just The lady's attitude in affectation of surprised denial is not that of injured innocence

[Illustration: Fig 67--Group fro 68]

[Illustration: Fig 69]

Fig 67, taken froestures Without thenize the protagonist or principal actor in the group, and its general subject The warrior Goddess Athene stands forth in the midst of what appears to be a council of war After the study of esture speech, the votes of each ree of positiveness or interest felt by each, can be ascertained

Athene in aniht, and extends her left ar a lance in the sa She is urging the figures on her right to follow her at once to atteerous enterprise Of these the elderly ht hand flat and reversed, and suspended slightly above his knee This probably is the ending of the nifies hesitation, advice to pause before hasty action, ”go slowly,” and co n of soure at the left of the group, standing firmly and decidedly, raises her left hand directed to the Goddess with the palesture it means, ”_wait! stop!_” It esture, ”_go slow_”

[Illustration: Fig 70]

Both of these members of the council advise delay and express doubt of the propriety of i 71]

The sitting warrior on the left of Athene presents his left hand flat and carried well up This position, supposed to be stationary, now means to _ask, inquire_, and it may be that he inquires of the other veteran what reasons he can produce for his te policy This70, and the co 71 In connection with this it is also interesting to co 72, and also the Coe 480, _infra_ If, however, the artist had the intention to represent the flat hand as in motion from beloard, as is probable froreatly_

He strongly disapproves the counsel of the opposite side Our Indians often express the idea of quantity, _ht, by an upward motion of the extended palure to the right, by the action of his whole body, shows his rejection of the proposed delay, and his right hand gives the n of co 72]

It is interesting to note the siestures and attitudes of73, for instance, drawn from life in the streets of Naples, has the same pliancy and _abandon_ of the limbs as appears in the supposed foolish slaves of the Vatican Terence

[Illustration: Fig 73]

In close connection with this branch of the study reference estures exhibited in the works of Italian art only h antiquity of their predecessors A good instance is in the Last Supper of Leonardo da Vinci, painted toward the close of the fifteenth century, and to the figure of Judas as there portrayed The gospel denounces hi by the hand extended and slightly curved; i toward hiesture that now indicates _theft_ in Naples, Fig 74, and a 75 The pictorial propriety of the sign is preserved by the apparent desire of the traitor to obtain the one white loaf of bread on the table (the re of coarser quality) which lies near where his hand is tending Raffaelle was equally particular in his exhibition of gesture language, even unto the ers It is traditional that he sketched the Madonna's hands for the Spasimo di Sicilia in eleven different positions before he was satisfied