Austin’s comprehensive work, Chironomia, or a Treatise on Rhetorical Delivery, London, 1806, is a repertory of information for all writers on gesture, who have not always given credit to it, as well as on all branches of oratory.  This has been freely used by the present writer, as has also the volume by the canon Andrea de Jorio, La Mimica degli Antichi investigata nel Gestire Napoletano, Napoli, 1832.  The canon’s chief object was to interpret the gestures of the ancients as shown in their works of art and described in their writings, by the modern gesticulations of the Neapolitans, and he has proved that the general system of gesture once prevailing in ancient Italy is substantially the same as now observed.  With an understanding of the existing language of gesture the scenes on the most ancient Greek vases and reliefs obtain a new and interesting significance and form a connecting link between the present and prehistoric times.  Two of De Jorio’s plates are here reproduced, Figs. 64 and 67, with such explanation and further illustration as is required for the present subject.

The spirited figures upon the ancient vase, Fig. 64, are red upon a black ground and are described in the published account in French of the collection of Sir John Coghill, Bart., of which the following is a free translation: 

Dionysos or Bacchus is represented with a strong beard, his head girt with the credemnon, clothed in a long folded tunic, above which is an ample cloak, and holding a thyrsus.  Under the form of a satyr, Comus, or the genius of the table, plays on the double flute and tries to excite to the dance two nymphs, the companions of Bacchus—­Galene, Tranquility, and Eudia, Serenity.  The first of them is dressed in a tunic, above which is a fawn skin, holding a tympanum or classic drum on which she is about to strike, while her companion marks the time by a snapping of the fingers, which custom the author of the catalogue wisely states is still kept up in Italy in the dance of the tarantella.  The composition is said to express allegorically that pure and serene pleasures are benefits derived from the god of wine.

[Illustration:  Fig. 65.]

[Illustration:  Fig. 66.]

This is a fair example of the critical acumen of art-commentators.  The gestures of the two nymphs are interesting, but on very slight examination it appears that those of Galene have nothing to do with beat of drum, nor have those of Eudia any connection with music, though it is not so clear what is the true subject under discussion.  Aided, however, by the light of the modern sign language of Naples, there seems to be by no means serenity prevailing, but a quarrel between the ladies, on a special subject which is not necessarily pure.  The nymph at the reader’s left fixes her eyes upon her companion with her index in the same direction, clearly indicating, thou. That the address is reproachful is shown from her countenance, but with