While the general effect of these pantomimes is often mentioned, there remain but few detailed descriptions of them.  Apuleius, however, in the tenth book of his Metamorphosis or “Golden Ass,” gives sufficient details of the performance of the Judgment of Paris to show that it strongly resembled the best form of ballet opera known in modern times.  These exhibitions were so greatly in favor that, according to Ammianus Marcellinus, there were in Rome in the year 190 six thousand persons devoted to the art, and that when a famine raged they were all kept in the city, though besides all the strangers all the philosophers were forced to leave.  Their popularity continued until the sixth century, and it is evident from a decree of Charlemagne that they were not lost, or at least, had been revived in his time.  Those of us who have enjoyed the performance of the original Ravel troupe will admit that the art still survives, though not with the magnificence or perfection, especially with reference to serious subjects, which it exhibited in the age of imperial Rome.

Early and prominent among the post-classic works upon gesture is that of the venerable Bede (who flourished A.D. 672-735) De Loquela per Gestum Digitorum, sive de Indigitatione.  So much discussion had indeed been carried on in reference to the use of signs for the desideratum of a universal mode of communication, which also was designed to be occult and mystic, that Rabelais, in the beginning of the sixteenth century, who, however satirical, never spent his force upon matters of little importance, devotes much attention to it.  He makes his English philosopher, Thaumast “The Wonderful” declare, “I will dispute by signs only, without speaking, for the matters are so abstruse, hard, and arduous, that words proceeding from the mouth of man will never be sufficient for unfolding of them to my liking.”

The earliest contributions of practical value connected with the subject were made by George Dalgarno, of Aberdeen, in two works, one published in London, 1661, entitled Ars Signorum, vulgo character universalis et lingua philosophica, and the other printed at Oxford, 1680, entitled, Didascalocophus, or the Deaf and Dumb Man’s Tutor.  He spent his life in obscurity, and his works, though he was incidentally mentioned by Leibnitz under the name of “M.  Dalgarus,” passed into oblivion.  Yet he undoubtedly was the precursor of Bishop Wilkins in his Essay toward a Real Character and a Philosophical Language, published in London, 1668, though indeed the first idea was far older, it having been, as reported by Piso, the wish of Galen that some way might be found out to represent things by such peculiar signs and names as should express their natures.  Dalgarno’s ideas respecting the education of the dumb were also of the highest value, and though they were too refined and enlightened to be appreciated at the period when he wrote, they probably were used by Dr. Wallis if