Dynamic harmony is founded on the concomitance of the relations existing between all the agents of gesture.  This harmony is regulated by three states, namely:  The tonic or eccentric state, the atonic or concentric state, and the normal state.  It, therefore, remains for us to fix the three vital conditions of the static part of gesture.  The vital condition of the static is based upon the knowledge of the nine stations.  The spirit of the static entails the study of scenic planes which embrace three conditions:  The condition of the personage in relation to the scenic centre or to the interlocutor whom he addresses; in the second place, his situation; and, finally, the direction assumed by his body in regard to the conditions already indicated.

The soul of the static is in the harmonic opposition of the surfaces moved.

The most powerful of all gestures is that which affects the spectator without his knowing it.

From this statement may be deduced the principle that:  Outward gesture, being only the echo of the inward gesture which gave birth to it and rules it, should be inferior to it in development and should be in some sort diaphanous.

Attitudes of the Head.

The head, considered in its three direct poses, presents three conditions or states.  When facing the object contemplated, it presents the normal state; bent forward and in the direction of the object, it presents the concentric state; raised and considering the object from above, it presents the eccentric state. [Compare Delaumosne, page 65.]

If, now, we consider each of its attitudes in connection with a double lateral inclination of which they are capable, we have the following nine: 

1.  The first is normal.  The head is neither high nor low, the glance being direct.

2.  The second is characteristic of tenderness.  This attitude consists in bending the head obliquely toward the interlocutor.  The body, in this attitude, should not face the object; thus the head, in bending toward it, bends sidewise in relation to the body.

3.  The third attitude is characteristic of sensuality.  This attitude is marked by an inclination quite the reverse of the second; that is to say, away from the interlocutor.  Naturally, in this attitude, as in the preceding one, the glance is oblique; the head being bent forward and backward, is here placed obliquely.

4.  The fourth is characteristic of scrutiny, reflection.  The head in this attitude is bent forward as we said in concentration, and the eye, from the effort to lower the head, is thrown up to inspect the object.

5.  The fifth is characteristic of veneration.  This attitude offers the same inclination as the second; but here, as the head must be lowered, the eye is directed both obliquely and upward.

6.  The sixth is characteristic of suspicion.  This attitude offers the same inclination as the third, with the concentric modifications indicated for the preceding one.