or evil eye, and misfortune in general, and directed toward another person is a prayerful wish for his or her preservation from evil.  This use is ancient, as is shown on medals and statues, and is supposed by some to refer to the horns of animals slaughtered in sacrifice.  The position of the fingers, Fig. 80, is also given as one of Quintilian’s oratorical gestures by the words “Duo quoque medii sub pollicem veniunt,” and is said by him to be vehement and connected with reproach or argument.  In the present case, as a response to an impertinent or disagreeable petition, it simply means, “instead of giving what you ask, I will give you nothing but what is vile and useless, as horns are.”

* * * * *

Fig. 81 tells a story which is substantially the foundation of the slender plot of most modern scenic pantomimes preliminary to the bursting forth from their chrysalides of Harlequin, Columbine, Pantaloon, and company.  A young girl, with the consent of her parents, has for some time promised her hand to an honest youth.  The old mother, in despite of her word, has taken a caprice to give her daughter to another suitor.  The father, though much under the sway of his spouse, is in his heart desirous to keep his engagement, and has called in the notary to draw the contract.  At this moment the scene begins, the actors of which, for greater perspicuity and brevity, may be provided with stage names as follows: 

  Cecca, diminutive for Francisca, the mother of—­
  Nanella, diminutive of Antoniella, the betrothed of—­
  Peppino, diminutive of Peppe, which is diminutive of Giuseppe. 
  Pasquale, husband of Cecca and father of Nanella. 
  Tonno, diminutive of Antonio, favored by Cecca. 
  D. Alfonso, notary.

[Illustration:  Fig. 81.—­Disturbance at signing of Neapolitan marriage contract.]

[Illustration:  Fig. 82.]

Cecca tries to pick a quarrel with Peppino, and declares that the contract shall not be signed.  He reminds her of her promise, and accuses her of breach of faith.  In her passion she calls on her daughter to repudiate her lover, and casting her arms around her, commands her to make the sign of breaking off friendship—­“scocchiare”—­which, she has herself made to Peppino, and which consists in extending the hand with the joined ends of finger and thumb before described, see Fig. 66, and then separating them, thus breaking the union.  This the latter reluctantly pretends to do with one hand, yet with the other, which is concealed from her irate mother’s sight, shows her constancy by continuing with emphatic pressure the sign of love.  According to the gesture vocabulary, on the sign scocchiare being made to a person who is willing to accept the breach of former affection, he replies in the same manner, or still more forcibly by inserting the index of the other hand between the index and thumb of the first, thus showing the separation by the presence