greater certainty from her attitude and the corresponding one of her companion, who raises both her hands in surprise accompanied with negation.  The latter is expressed by the right 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 some of our Indians, as shown in Fig. 65.  A sign of the Dakota tribe of Indians with the same signification is given in Fig. 270, page 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 thumb united, the modern Neapolitan sign for love, which is drawn more clearly in Fig. 66.  It is called the kissing of the thumb and finger, and there is ample authority to show that among the ancient classics it was a sign of marriage.  St. Jerome, quoted by Vincenzo Requena, says:  “Nam et ipsa digitorum conjunctio, et quasi molli osculo se complectans et foederans, maritum pingit et conjugem;” and Apuleius clearly alludes to the same gesture as used in the adoration of Venus, by the words “primore digito in erectum pollicem residente.”  The gesture is one of the few out of the large number described in various parts of Rabelais’ great work, the significance of which is explained.  It is made by Naz-de-cabre or Goat’s Nose (Pantagruel, Book III, Ch.  XX), who lifted up into the air his left hand, the whole fingers whereof he retained fistways closed together, except the thumb and the forefinger, whose nails he softly joined and coupled to one another.  “I understand, quoth Pantagruel, what he meaneth by that sign.  It denotes marriage.”  The quarrel is thus established to be about love; and the fluting satyr seated between the two nymphs, behind whose back the accusation is furtively made by the jealous one, may well be the object concerning whom jealousy is manifested.  Eudia therefore, instead of “serenely” marking time for a “tranquil” tympanist, appears to be crying, “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.

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[Illustration:  Fig. 67.—­Group from a vase in the Homeric Gallery.]

[Illustration:  Fig. 68.]

[Illustration:  Fig. 69.]