The harmonic law of gesture is the static law par excellence.

It is of childlike simplicity.  We employ it in walking; also when we carry a weight in one hand, the other rises.  The law consists in placing the acting levers in opposition, and thus realizing equilibrium.  All that is in equilibrium is harmonized.  All ancient art is based upon this opposition of levers.  Modern art, with but few exceptions, is quite the contrary.

Here is an example of the observance of this rule:  If the head and arms are in action, the head must move in opposition to the arms and the hand.  If both move in the same direction, there is a defect in equilibrium, and awkwardness results.

When the arm rises to the head, the head bends forward and meets it half-way.  The reverse is true.  Every movement in the hand has its responsive movement in the head.  If the head advances, the hand withdraws.  The movements must balance, so that the body may be in equilibrium and remain balanced.

Here is the difference between ancient and modern art.  Let us suppose a statue of Corneille reading his works.  To-day we should pose it with one leg and arm advanced.  This is parallelism.  Formerly the leg would have been opposed to this movement of the arm, because there should be here the expansion of the author toward his work, and this expansion results precisely from an opposition of levers.

We know the ancient gladiator; we do exactly the opposite from him in fencing.

Modern art makes the man walk with leg and arm parallel.  Ancient art would have the leg opposed to the arm.

It is through opposition that the smile expresses moral sadness.  This law of opposition must be observed in the same member.  For example, the hand should be opposed to the arm.  Thus we have magnificent spheroidal movements which are graceful and also have considerable force.  Thus all the harmonies occur in one same whole, in one same truth.  In a word, all truths interpenetrate, and when a thing is true from one point of view, it is so from all.

Number of Gestures.

Many reasons go to prove that gestures need not be multiplied: 

A.—­We are moved by only one sentiment at a time; hence it is useless to multiply gestures.

B.—­But one gesture is needed for the expression of an entire thought; since it is not the word but the thought that the gesture must announce; if it expressed only the word, it would be trivial and mean, and also prejudicial to the effect of the phrase.

In these phrases:  “What do you seek in the world, happiness?  It is not there,” that which first strikes us is the absence of happiness.  Gesture must indicate it in advance, and this should be the dominating movement.

The intelligent man makes few gestures.  To multiply gestures indicates a lack of intelligence.  The face is the thermometer of intelligence.  Let as much expression as possible be given to the face.  A gesture made by the hand is wrong when not justified in advance by the face.  Intelligence is manifested by the face.  When the intelligent man speaks, he employs great movements only when they are justified by great exaltation of sentiment; and, furthermore, these sentiments should be stamped upon his face.  Without expression of the face, all gestures resemble telegraphic movements.