on, 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 intellig