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ESTHETIC 
 PHYSICAL 
 CULTURE. 
 
 A SELF-INSTRUCTOR 
 
 ALL CULTURED CIRCLES, AND ESPECIALLY FOR 
 ORATORICAL AND DRAMATIC ARTISTS. 
 
 PROFESSOR OF /ESTHETIC PHYSICAL CULTURE, VOICE-PRODUCTION, ORAT ORY, DRA MATIC 
 READING AND ACTING; AUTHOR OF "GYMNASTICS OFT^i^X'§^^^^^-^-i!^^ 
 'talent and SCHOOL," ETC., ET^^^^^^"^^^ -*-^'"^^-^^ " 
 
 y^^ 01^ THR 
 
 riVERSITY) 
 
 o:E^Ia-I2^-^Xi ixjXjTjsti^.a.i'i 
 
 ALBANY, N. V. : 
 
 EDGAR S. ^A^ERNER, 
 
 The Voice Press, 
 
 1884. 
 
 \ifh:$^ 
 
Copyright by 
 Edgar S. Weknek. 
 
 1883. 
 Aii rights reserved. 
 
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 w\' 
 
PREFACE TO THE FIRST, GERMAN EDITION. 
 
 We all, as respects our knowledge and abilities, stand upon the experience 
 of earlier races; and popular progress could not be imagin- 
 able if we treated the arts and sciences as mere empirics. 
 A. CzERWiNSKi in '' The History of Dancing." 
 
 Among the ancient Greeks, all gymnastic exercises, and es- 
 pecially dancing, formed a leading element of the education of 
 youth. Solon, the lawgiver, ordained the study of gymnastics ; 
 and Pythagoras, the founder of a rational system, won the 
 applause of the populace as a gymnast. High and low, old 
 and young, cultivated this art. According to Plato, the man who 
 found no pleasure in dancing and gymnastics, was a rude, unpol- 
 ished clown. The great value the Greeks placed upon these two 
 arts, is evident from their assiduous cultivation by the greatest 
 men: poets, generals, and sages. Sophocles and Epaminondas 
 were renowned dancers, and Socrates did not think it undigni- 
 fied to zealously practice dancing in his old age, because he 
 thought that it contributed to outward and inward symmetry. 
 There were also great poets in those days, who were masters of 
 the art of dancing. Arion, Tyrtaeus, as well as yEschylus, won 
 great repute by their gestures and dancing. The utmost modesty 
 in glance and demeanor was in that day considered an absolute 
 necessity, and a rapid gait was not "good form." Demosthenes 
 placed bold speech and a rapid gait in the same category. The 
 ancient Hellenes went so far as to judge of a man's character by 
 his gait and movements. 
 
 With the fall of Greece, a rough athletism. took the place of 
 the noble principles of Pythagoras. Toward the end of the 
 Grecian rule this culminated, and then passed over to the Ro- 
 mans, who witnessed with rapturous applause combats between 
 men and wild beasts, or mortal conflicts between man and man, 
 where, while the dead gladiator was ignominiously dragged from 
 
iv Esthetic Physical Culture. 
 
 the arena, the victor received the branch of palm, and was often 
 rewarded with money. 
 
 The following example will show what a strict difference the 
 Grecians, in the palmy days of their empire, made between 
 rational gymnastics and the rough antics of athletes and gym- 
 nasts : 
 
 '' To Clisthenes came Hippoclides, the son of Pisandros, a rich 
 Greek, to sue for the hand of his daughter. The father con- 
 sented. When, at a family feast at which gymnastic sports were 
 usually carried on, Hippoclides, through leaping and other 
 antics, hoped still more to win the favor of the father of his 
 Agarista, and at last, after all possible masterpieces, placed him- 
 self upon his head and began to gesticulate with his legs as if 
 they were arms, Clisthenes, long since enraged at these absurd 
 performances, cried out : ^ O, son of Pisandros, thou hast danced 
 away thy marriage ! ' 
 
 In Rome, where, as we have seen, gymnastics degenerated into 
 horrible cruelties, the dance rose at length to great popularity in 
 spite of the opposition of almost all the renowned authors and 
 statesmen. After the introduction of the Greek play, which was 
 a musical declamatory representation, and in which, for the Roman 
 public, dancing and music were the main things, the dancer Diony- 
 sia received an income of 42,000 marks,* and the renowned actor 
 Roscius, a contemporary of Cicero, an income of 129,000 marks. 
 
 After the fall of Rome there is a chasm of many centuries in 
 the history of gymnastics. 
 
 In the middle ages, it was the tournament that demanded skill 
 and decorum as well as strength. After the fall of the tourna- 
 ment, scarce anything was done for physical culture, and only 
 with the Reformation, with Luther himself, does the time begin 
 anew in which the necessity of making mind and body symmet- 
 rical, was recognized. Montaigne, the French essayist (born 
 1533), says : "I would have an outward decorum and pleas- 
 ing manners cultivated at the same time with the mind. It 
 
 * The former over $io,ooo in our money, the latter nearly $33,000. — Translator, 
 
Preface to the First German Edition. v 
 
 is not a soul, not a body, we educate ; it is a man. Out of this 
 one we must not make two." And Plato says : "We must not 
 break in one without the other ; but must urge and guide both 
 alike, like a span of horses harnessed to a shaft." 
 
 In the seventeenth and eighteenth centuries, there were special 
 dancing-masters who taught deportment and fine manners to 
 grown persons and to children, dancing being considered the 
 basis of all good manners, since more grace entailed greater 
 decorum. And where were more elegance, more grace in gait 
 and bearing necessary than in a court minuet, or gavotte ? An 
 age when gallants wore embroidered garments, and carried swords, 
 enforced a strict attention to the outward proprieties, and to fine 
 manners. 
 
 That race is no more. The time has gone by when a Marcel, 
 the most renowned of European ballet-masters (his lessons cost 
 very dear, he being paid 300 francs for the bow to be made at a 
 court presentation, or for a minuet to be danced at some state 
 ball), — could say to one duchess: " Madame, your courtsey is 
 like that of a maid-servant ; " and to another : " You have a gait 
 like a fish-wife. Lay aside these wretched manners and begin 
 your bows anew, never forgetting what you are, and that a 
 consciousness of your rank should control your slightest ac- 
 tions." * Lord Chesterfield urgently exhorted his son to take les- 
 sons of Marcel in deportment, so that he might enter a salon 
 without any awkward movements of the arms or body; and, upon 
 his first introduction to society, produce a favorable impression 
 which would be likely to endure. 
 
 The age is now gone by when Louis XIV. took dancing-lessons 
 twenty years in order to perfect himself in the minuet and 
 gavotte, where the finest grace must have expression. Those 
 days are past, and those dancing-masters have left no successors. 
 Were there any such, they might starve for lack of pupils ; for, 
 as the public announcements tell us daily, all society-dances may 
 be learned in eight hours, and few are willing to give more time 
 
 * Czerwinski's " History of Dancing." 
 
vi -Esthetic Physical Culture 
 
 than this. In no society of the present day, at no court, it might 
 almost be said, is a strict etiquette observed. 
 
 Modern turtierei^ with its bold antics, its gigantic leaps, and 
 contortions of the body, is far removed from the rational gym- 
 nastics of Pythagoras, and not calculated to produce decorum or 
 grace. 
 
 Where shall the youth or the maiden learn anything of deport- 
 ment ? A book should be written from which our young people, 
 anxious for fine manners, may draw counsel. So-called books of 
 etiquette to-day, where everything is reduced to a science, aid, at 
 most, only in attaining a superficial polish. Even a work on de- 
 corum must have a strict scientific basis, if it would answer its 
 purpose, if it would be abreast of the times, and take due account 
 of the laws of aesthetics. 
 
 Much has been written upon decorum and fine manners. Even 
 our most renowned authorities, such as Goethe, have expressed 
 their ideas upon this subject ; but we nowhere find a system, a 
 perfect method. We possess works upon gymnastics, dancing, 
 fencing, the plastic and histrionic arts, etc., but none in. which, 
 out of all these, a system is deduced, from which true culture 
 may be derived. 
 
 German literature has, indeed, for several years, been enriched 
 by a work which must be placed in quite another category, and 
 for which we have to thank the talent and tireless industry of 
 Herr Hugo Rothstein, Director of the Prussian Royal Central 
 School of Gymnastics. This is an excellent adaptation of the 
 celebrated work of Ling, a Swedish teacher of gymnastics and 
 father of the modern rational science of that name. Its title is 
 Gymnastics. But, excellent as the work is, its benefits must 
 be derived indirectly through the teacher ; it would be useless for 
 the pupil to seek to master a work comprising five volumes, and 
 over 1600 pages. 
 
 If we turn to the literature of the mimic art, we find ourselves 
 in the same dilemma. This literature is very comprehensive, 
 and embraces much that is valuable, from Quintilian down to 
 
Preface to the First German Edition. vii 
 
 writers of our own day ; but all these works, in spite of their 
 many excellences, lack one fundamental thing: Instruction in 
 training the limbs to a capability for the mimic art, without which 
 all advice is useless. 
 
 The main requirement in the mimic art is to have the body as a 
 whole, and its members severally, so in one's power that the 
 moods of the soul may be easily and gracefully rendered. No 
 treatise upon acting can teach that art by merely laying down rules 
 how to give intellectual expression to our passions; quite apart 
 from the fact that the ways in which our passions may be ex- 
 pressed are so manifold, and so distinct, that it would be almost 
 impossible to establish fixed rules. There can be no real acting 
 until the limbs and the body, as a whole, are made so elastic by 
 training that the physical movements express aesthetically the dis- 
 position of the soul. 
 
 Hegel says: *^ My body is the medium through which I com- 
 municate with the outward world. If I would realize my inten- 
 tion, I must make myself capable of rendering this subjectivity 
 into outward objectivity. My body is not naturally fitted for 
 this; it conforms only to the physical life. The organic and 
 physical impulses are not yet the results of the promptings 
 of my spirit. My body must first be trained for such service." 
 And Dr. Jacobs expresses the idea of Greek gymnastics by , 
 saying that their one great aim was to secure the mastery of 
 mind over body, and represent the internal harmony in the in- 
 ward and outward appearance. 
 
 After these words no especial proof is needed to show that the 
 method of studying certain fixed movements for this or that sit- 
 uation, this or that sensation, — a method adopted by many 
 teachers, — is false and execrable. It should, on the contrary, 
 be our task to make the body so elastic, so strictly subject to the , 
 will by correct, regular, and varied practice, that, if we would 
 reproduce a sensation, we may make as through an electric shock, 
 not a certain or fixed, but yet an appropriate movement of the 
 limbs; for varied and still befitting gestures may be made for every 
 
viii ^Esthetic Physical Culture. 
 
 expression. When we are sure that the movements of the limbs 
 are round and pleasing, we can safely trust ourselves to our sen- 
 sations, certain that these will be truly and beautifully expressed. 
 
 Then the study of the mimic art must not begin until this point 
 of culture has been reached by careful study. 
 
 Who would recommend a teacher of harmony to a talented 
 young musician before he can play well upon some instrument ? 
 Who would mention tactics and strategy to a soldier before he 
 has learned the first evolutions, or advise the art-student to em- 
 ploy a teacher in color before he has learned to draw ? The 
 fundamental elements of every science and art must be studied 
 first, and the basis of acting is gymnastics — not in the strictly 
 pedagogic (physical) sense, but gymnastics with strict regard to 
 aesthetics and to the plastic movements of the body. 
 
 The reason for the lack of such a basis in the literature of this 
 subject, is the supposition of the authors that first principles have 
 been acquired in youth, and before the student began to prac- 
 tice art. But this is a false supposition. 
 
 Aside from the fact that but few are able to give the body 
 gymnastic culture in youth, and that most pursue callings apart 
 from such culture before they go upon the stage, — aside from all 
 this, no mere pedagogic physical system will suffice for acting. 
 A system of gymnastics written for the health, is far removed 
 from inculcating charm and grace. While it treats of the limbs 
 with especial reference to strength and movement, aesthetic gym- 
 nastics demand the cultivation of the limbs to a harmonious 
 whole, exact regard for aesthetic personation, and that, too, in 
 one perfected system. 
 
 Esthetic gymnastics, therefore, form the a, b, c of acting, and 
 without them a knowledge of the latter art is no more possible than 
 to learn a language without knowing the alphabet. But, as with- 
 out aesthetic gymnastics, acting is impossible, so there can be no 
 aesthetic instruction without a previous course of physical gym- 
 nastics. And, again, a knowledge of the outlines of anatomy, at 
 least, is indispensable to the correct and healthful practice of 
 
Preface to the First German Edition. ix 
 
 gymnastics. This knowledge of the art of acting must, then, be 
 preceded by some acquaintance with human anatomy and physi- 
 ology, with physical and aesthetic gymnastics. 
 
 Then only is the student capable of grasping the principles of 
 acting. We say the principles, for more than these we regard as 
 superfluous and impracticable, because acting is the outcome of 
 the active soul, and this in a body sesthetically cultured, finds a 
 right way of itself. 
 
 *^Who can undertake," says Professor Harless in his excellent 
 work entitled Plastic Anatomy^ — " who can undertake to ana- 
 lyze and reproduce in word and picture for the use of the artist, the 
 endless number of movements and poses which we assume invol- 
 untarily, or to which an inner impulse urges us with mysterious 
 power ? Only one way remains, but that suffices for the true 
 artist. He whose heart and understanding, guided by a thorough 
 culture of the intellect, are in a condition to trace out the pro- 
 found emotions of the soul-life, to search sharply into the mo- 
 tives of human actions, and to follow sympathetically the experi- 
 ences of various cultivated men, — for such an one it suffices to 
 know those various and easily understood views and proclivities 
 which, arising within the mind, now in this, now in that connec- 
 tion, return ever and ever again to allow themselves to be ex- 
 pressed in pantomime." 
 
 Hence it is evident that a work which assumes the task of 
 laying down rules for mental activity to the minutest degree, will 
 prove useless, and that even an exposition of the mere principles 
 of the mimic art will bear little fruit if the above-named condi- 
 tions of previous study are wanting. 
 
 Long years' practice of the dramatic art, as well as of physical and 
 aesthetic gymnastics, many years of imparting instruction in both, 
 combined with profound study of all works pertaining to the 
 subject, justify me, I think, in attempting to write such a work for 
 the stage and for the public. I call my work an attempt, but 
 whether it will be more than this, whether it will be as kindly re- 
 ceived as my Gymnastics of the Voice, the future must decide. 
 
X' ^Esthetic Physical Culture. 
 
 In any event, the student will recognize in my work a most pro- 
 found devotion to a calling designed to cultivate and ennoble 
 men. As in my Gymnastics of the Voice, I have only given 
 the methods of forming a correct tone, and of correctly articulat- 
 ing the alphabet, (the basis of the arts of singing and rhetoric), — 
 so in this book I have only given a basis to the works already 
 written upon the mimic art, in order to make them available for the 
 actor, and set forth the principles of the aesthetic culture of the hu- 
 man body. If I succeed in this effort, I shall feel myself rewarded. 
 
 An acquaintance with dancing and fencing being indispensable 
 to physical culture, I have taken up the principles of both arts, 
 and besides added a treatise upon the laws of dress, ending with 
 rules for social life in its everyday walks and in the salon, em- 
 bodied in a special chapter. 
 
 Those whose youth was so highly favored that they learned 
 systematically all those things which give the body its highest 
 elasticity and strength (such as wrestling, swimming, fencing, 
 dancing, riding, gymnastic exercises, etc.), will find my book of 
 less interest, although they, too, will discover many things, either 
 entirely new, or at least new in their thoroughness. Those who 
 belong to public life^ but had no opportunities for youthful cul- 
 ture, will find the work indispensable, while it will prove useful 
 to people in private life, since it is impossible to obtain perfect 
 mastery of the limbs without systematic practice, and to avoid 
 faults in movement without a study and comprehension of the 
 principles of gymnastics. 
 
 Tyros are too apt to think that with a few years practice on the 
 stage, ease of movement, a correct action of the limbs and all 
 minor accessories will come of themselves As well might the 
 raw recruit who goes weighted with pack and knapsack and with- 
 out preparatory discipline into battle, think to discharge his duty 
 as well as he who has thoroughly learned the military tactics. 
 
 The wood-engravings which accompany this work have all been 
 drawn from nature with the greatest care by the painter Fratrel, 
 in accordance with instructions and illustrations from the author. 
 
Preface to the First German Edition. xi 
 
 Should any one find that I have omitted to speak on subjects, 
 especially on those pertaining to the domain of Esthetic Gym- 
 nastics, I should be pleased to have them pointed out by letter. 
 I will gladly answer such communications, as far as time allows? 
 and will treat of them in a future edition, should one be 
 granted me. 
 
 OSKAR GUTTMANN, 
 
 Manager of the Stadt Theatre. 
 Hamburg (Germany), 1865. 
 
PREFACE TO THE SECOND GERMAN EDITION. 
 
 • '' I call my work an attempt, but whether it will be more than 
 this, whether it will be as kindly received as my Gymnastics of 
 the Voice, the future must decide." 
 
 With these words I sent the first edition of this book out into 
 the world. It was, however, received with extraordinary favor. 
 Critics praised it and leading journals gave extended notices and 
 testimonials. This was proof sufficient that Esthetic Physical 
 Cultiwe supplied a want and was a necessary work. 
 
 Notwithstanding this unanimous recognition of my efforts, I 
 still did not feel satisfied. I knew only too well that I had not 
 attained unto what I had striven for ; yes, indeed, that the full 
 realization of my purpose was almost an impossibility, as the sub- 
 ject is inexhaustible. But what could I do ? At that time I no 
 more thought of a second edition of this book than I did at the 
 first edition of my Gymnastics of the Voice, and so I had to submit. 
 
 But it turned out otherwise. Notwithstanding its imperfec- 
 tions, ^Esthetic Physical Culture proved such a useful book that 
 a second edition became necessary. I undertook the revision 
 with all the heart, with all the love, with all the holy earnestness 
 with which I had devoted my whole life to dramatic art. 
 
 The whole text has been revised and rewritten. Much of the 
 first edition has been enlarged upon and given again in plainer 
 terms. Large additions of new material have been made, the 
 result of constant study of and instruction in the principles and 
 requirements of the drama. 
 
 Works upon the mimic art abound, and it would be difficult to 
 produce anything new or better in this department of literature. 
 But, so far as I know, nothing similar to yEsthetic Physical Cul- 
 ture exists, — a book that in a rational, scientific, practical manner 
 gives the means by which the body and its movements can be 
 aesthetically trained, and the scholar prepared to enter upon the 
 study of the mimic art. 
 
Preface to the Second German EDrnoN. xiii 
 
 Now and then I have heard it remarked, '' The study of the 
 book and the following of its teachings is too difficult !" Much 
 as I may regret it, I can not make it easier. The only consola- 
 tion I find is in the words of Friederich Spielhagen, who, in 
 reviewing my book in the Sonntagsblatt, said : " Those, who 
 l)elieve they can accomplish everything through talent alone, 
 without study, may exclaim, after examining the book, ' The 
 obstacles are insurmountable !' and make no further attempt. 
 Such persons would do well to abandon the dramatic profession, 
 for energy and perseverance are qualities indispensable to the 
 artist." 
 
 I fully agree with the criticism of the Hamburg Reform^ viz., 
 that " Part Third is the kernel of the whole book, and should be 
 studied by all dramatic and oratorical students, not, however, 
 before the first two parts have been thoroughly mastered. 
 Indeed, it is a carefully graded text-book no part of which can 
 be omitted, if good results are desired." 
 
 So, I now send this new, improved and enlarged edition over 
 the ocean, to my old home, among the ranks of those who are 
 sincerely striving to place dramatic instruction upon a systematic, 
 scientific basis. May yEsthetic Physical Culture contribute its 
 mite to that end ! 
 
 I take leave of my readers in quoting the words used by Dr. 
 Feodor Wehl in concluding his review of the first edition of this 
 book : 
 
 " May the entire dramatic profession and all other persons of 
 artistic vocations or natures cordially welcome this book. By so 
 doing they will themselves be benefited and also promote 
 dramatic and oratorical art." 
 
 The Author. 
 
 New York, 1879. 
 
PREFACE TO THE AMERICAN EDITION. 
 
 In presenting Esthetic Physical Culture in the language 
 of my adopted country, nothing need be added to the pre- 
 ceding prefaces, which tell the story of the book and explain 
 its scope. I can only wish that it may be as cordially 
 received by the American public as it was in my native land^ 
 OSKAR GUTTMANN, 
 
 436 East 57th St., New York. 
 1884. 
 
CONTENTS. 
 
 PART PIRST. 
 
 ANATOMICAL AND PHYSIOLOGICAL PRINCIPLES. 
 
 THE HUMAN SKELETON. 
 
 The Bones of the Head 4 
 
 The Torso 4 
 
 The Upper Limbs 6 
 
 The Lower Limbs 6 
 
 THE MUSCLES. 
 
 The Muscles of the Head 12 
 
 The Muscles of the Face 12 
 
 The Muscles of the Torso 13 
 
 The Muscles of the Upper Limbs 13 
 
 The Muscles of the Lower Limbs 14 
 
 THE MECHANISM OF THE LIMBS. 
 
 The Centre of Gravity 15 
 
 The Mechanism of the Walking Apparatus iS 
 
 Walking Forward '..... 22 
 
 Walking Backward 23 
 
 PART SECOND. 
 
 PHYSICAL GYMNASTICS. 
 
 INTRODUCTION. 
 
 Directions for Practice 27 
 
 THE SINGLE MEMBERS— Simple Exercises. 
 
 Base Position 3a 
 
 Turning the Head to the Right and Left 31 
 
XVI CONTENTS. 
 
 Bowing of the Head Forward, Backward, or to the Right and 
 
 Left 31 
 
 The Head Circle 31 
 
 Shoulder Movements 32 
 
 The Shoulder Circle 33 
 
 Rising and Falling of the Hips 34 
 
 Turning or Twisting of the Trunk 34 
 
 Inclination of the Torso Forward, Backward, Right and Left. . 34 
 
 The Torso Circle 35 
 
 Elevating the Torso 35 
 
 Arm Exercises 36 
 
 Arm Exercises with Outstretched Arms. 
 
 Lifting and Moving the Arm 37 
 
 The Arm Circle 37 
 
 Turning and Revolving the Arms 37 
 
 Balancing and Oblique Movements 38 
 
 Arm Exercises with the Aid of the Elbow-Joints. 
 
 Attraction and Repulsion , 39 
 
 Movement of the Arms behind the Back 40 
 
 Hand and Wrist Practice. 
 
 Finger-Stretching and Spreading 41 
 
 Leg and Foot Practice. 
 
 Exercise with Stretched Leg — Leg Swinging 42 
 
 The Leg Circle, Forward and Backward 43 
 
 The Flexion and Extension of the Knee Backward 43 
 
 The Flexion and Extension of the Knee Forward. 43 
 
 Strengthening of the Muscles of the Legs 44 
 
 Foot Extension 45 
 
 Foot Extension, Flexion and Circling 46 
 
 THE LIMBS AS A WHOLE— Complex Exercises. 
 
 Exercises for the Upper Part of the Body. 47 
 
 Exercises for the Legs and Feet — The " Leg Circle " 50 
 
 Exercises for the Upper Body, Legs and Feet 51 
 
 PART THIRD. 
 
 ESTHETIC GYMNASTICS. 
 
 INTRODUCTION. 
 THE PLASTIC ART. 
 
 The Human Body and its Limbs 58 
 
CONTENTS. xvii 
 
 The Limbs vSingly, in a State of Rest 58- 
 
 Movement of the Arms and Hands 62 
 
 Movements. 
 
 Walking in General 73 '^ 
 
 The Walking of Ladies with Trains. 73 
 
 The Lifting of a Lady's Dress in Walking 75 
 
 Turning to the Right or Left in Walking. . .*. 75 -" 
 
 Turning to the Right or Left While Standing 75 " 
 
 Walking Sideward 75, 
 
 Stepping Sideward With Bowing 76 
 
 Turning Round in Walking 76 ^ 
 
 Turning Round While Standing 77 
 
 Turning in the Case of Women 77 
 
 Carriage of the Arms in Walking 78' 
 
 The Opening of a Door 78 
 
 The Entrance of a Servant 79. 
 
 The Setting of a Chair for One's Self or for Others 79 
 
 Seating One's Self upon a Chair already Placed 8o> 
 
 Kneeling 82 
 
 Lifting Something from the Floor 84 
 
 Falling upon the Stage 84 
 
 The Holding of the Hat 85 
 
 The Carrying of the Fan 86 
 
 The Carrying of a Cane 87 
 
 The Use of the Handkerchief 88 
 
 The Hand-Kiss 89 
 
 Fundamental Rules for Position if Several Persons are on the 
 
 Stage 90 
 
 Position of Subordinates 92 
 
 THE MIMIC ART. 
 Play of Features. 
 
 General Remarks 93 
 
 The Eyes 94 
 
 The Mouth 95 
 
 Main Elements of Facial Expression 7 
 
 General Physiognomical Remarks. 
 
 The Cheeks 103 
 
 The Lips 103 
 
 The Chin 103 
 
xvili CONTENTS. 
 
 GESTURE. 
 
 The Single Limbs in Relation to Gesture. 
 
 The Head 104 
 
 The Arms and Hands in General , 106 
 
 Main Principles of the Position of the Hand in Acting 109 
 
 The Torso iii 
 
 The Legs and Feet 112 
 
 Walking in Acting 114 
 
 Characteristic Tokens of Several Kinds of Gait 115 
 
 The Limbs in Harmonious Action. 
 
 The Divisions of Gesture 117 
 
 The Fundamental Rules for Correct Action of the Limbs in 
 
 Gesture 119 
 
 The Use of the Left and Right Hand 122 
 
 Greeting, Prayer, Oath 123 
 
 Salutations of the Hebrews 124 
 
 The Moslem . Salutation 125 
 
 Chinese Salutations 127 
 
 Salutations of the Hindoos, Greeks and Romans 128 
 
 Salutation, Oath and Prayer of Modern Times According to the 
 
 European Fashion among Civilized People 129 
 
 Various Faulty Gestures and their Correction. 
 
 Drinking 130 
 
 The Holding of a Cup of Coffee or 'lea 131 
 
 Pantomimic Reading and* Letter Writing 131 
 
 Turning the Leaves of a Book 133 
 
 Use of a Pencil 133 
 
 Practical Exercises for Pupils 133 
 
 PART FOURTH. 
 
 THE ART OF DANCING. 
 
 THE ART OF DANCING. 
 
 Carriage of the Body 139 
 
 Fundamental Positions and Movements 140 
 
 The Position of the Feet 140 
 
 The Position of the Arms 142 
 
 Exercises Preliminary to the Dance 144 
 
 Single Movements of the Feet through which the Dancing 
 
 Steps are Rendered Possible 147 
 
CONTENTS. xix 
 
 Elementary Dancing Steps 147 
 
 Composite Independent Steps 150 
 
 The Minuet as a School for Compliments ... 151 
 
 Compliment — Reverence. 
 
 The Compliment of Ancient Times 152 
 
 The Mediaeval Compliment 152 
 
 The Compliment of the 17th and i8th Centuries 153 
 
 The Great Reverence for Gentlemen 154 
 
 The Great Reverence for Ladies 156 
 
 The Little Reverence for Gentlemen 158 
 
 The Little Reverence for Ladies 159 
 
 Reverence before Several Persons Standing in a Half-Circle. , . 160 
 The Little Reverence upon Arrival and at Departure, also at 
 
 Meeting in Walking, for Gentlemen and for Ladies. . 161-162 
 
 The Modem Compliment 163 
 
 PART FIFTH. 
 
 THE ART OF FENCING. 
 
 THE ART OF FENCING. 
 
 The Foil 169 
 
 The Measure. * 169 
 
 Place and Position • 170 
 
 First Position 170 
 
 Second Position 171 
 
 Attitude of the Hand 172 
 
 The Foot Movement 174 
 
 The Primary Thrust 176 
 
 The Secondary Thrust 177 
 
 Simple Parades 178 
 
 Counter-Parades 178 
 
 The Degagement 179 
 
 The Double 179 
 
 The Coupe 1 79 
 
 Compliment of Arms 179 
 
 General Advice 181 
 
XX CONTENTS. 
 
 PART SIXTH. 
 
 MAIN PRINCIPLES OF DRESS. 
 
 MAIN PRINCIPLES OF DRESS. 
 
 Women's Dress 185, ' 
 
 Men's Dress 18& 
 
 Combination of Colors 191 
 
 PART SEVENTH. 
 
 APPLICATION OF THE RULES TO COMMON LIFE, 
 THE SALON AND THE STAGE. 
 
 APPLICATION OF THE RULES. 
 
 What is Decorum ?....... 197 
 
 Politeness and Modesty 198 
 
 Deportment toward Ladies 202 
 
 Deportment in Large Companies 203 
 
 Deportment at a Ball 205, 
 
 Deportment at Table 208 
 
 Deportment at the Theatre or Concert 210 
 
 The Visit of Ceremony 211 
 
 Audience with Princes 212 
 
 The Manner of Studying this Book without a Teacher 213 
 
PART FIRST. 
 
 ANATOMICAL AND PHYSIOLOGICAL PRINCIPLES. 
 
 "The thought originates in the brain, the brain acts upon the nerves, the 
 nerves upon the muscles, the muscles upon the bones, and not until after this 
 process is it possible for us to undertake any action." 
 
 Guttmann's " Gymnastics of the Voice." 
 
^^ OP" THR • 
 
 fUNIVBESITY) 
 CHAPTER I. S^JFOE"^^ 
 
 THE HUMAN SKELETON. 
 
 The skeleton of the human body is composed of bones and 
 cartilages, united by flexible cords, and forming a movable appa- 
 ratus which can be set in action by the muscles. The peculiar 
 articulation of the bones gives rise to cavities within the skeleton 
 (the cavities of the head, brain, chest, abdomen and pelvis), in 
 which the various internal organs, designed partly for nourish- 
 ment and partly for mental activity, have their seat. All these 
 parts are permeated by greater or smaller veins, and by white 
 fibres : the former, the arteries, carry the blood from the heart 
 through the body, and again back to the heart ; and the latter, 
 the white fibres or nerves, bind the different parts of the body 
 into one harmonious whole. They proceed from the brain and 
 the spinal marrow, and, excited by outward or inward impulse, 
 cause motion, sensation, and intellectual activity. As long as 
 man lives, a constant change is going on in the particles which 
 compose his body, and this forces him to take the necessary food. 
 
 Physical gymnastics teach the laws through whose observance 
 this change may go on regularly and advantageously. The office 
 of cesthetic gymnastics is to make the limbs appear graceful and 
 pleasing in accordance with cesthetic laws. 
 
 The greater divisions of the human body are the head, trunk 
 and limbs. The head, the upper and most "important part, is mov- 
 ably set upon the neck, and contains the brain in its upper half, 
 while its lower half forms the face, with cavities for the organs of 
 the senses. The trunk or torso is divided into four parts, — the 
 neck, the chest, the abdomen and pelvis, and has its support in 
 the spinal column. The front of the neck contains the organs of 
 
4 ESTHETIC PHYSICAL CULTURE. 
 
 the voice, and the air and food tubes. The chest contains the 
 breathing apparatus and the heart. The abdomen and pelvis 
 contain the sustaining, and reproductive organs. The Hmbs, 
 which enclose no vital organ, are bordered with muscles, and 
 may be divided into two groups : The uppei- limbs, the arms, 
 which consist of the shoulder, the upper arm, and the lower 
 arm and hand, are joined to the chest by ligaments, while the 
 lower limbs, the legs — consisting of the upper and lower leg 
 and the foot, — are joined by ligaments to the pelvis. 
 The single bones of these main groups are : 
 
 I. The Bones of the Head 
 Consisting of the skull and the face. The skull is composed of 
 eight bones, firmly and elaborately united ; the face of fourteen 
 bones, only one of which, the lower jaw, is movable, while the 
 upper bones, like those of the skull, are bound strongly together. 
 
 2. The Torso. 
 This has its main support in the backbone or spinal column. 
 It consists of twenty-six single bones. The seven upper ones 
 (Fig. I., 1-7) are the bones of the neck ; the next twelve (8-20) 
 are the breast and backbones; and the five lower ones (21-26) 
 belong to the abdomen and loins, and unite with the os sacrum 
 (26) and coccyx (27), which form the terminal extremity of the 
 spinal column. On each side of the twelve breastbones, and 
 united with them, stand twelve rib-bones (8-19), which are in 
 turn joined by tendons to the breastbone (28). In this way 
 is formed the chest-cavity which contains those important or- 
 gans, the heart and lungs. By means of muscles fastened to 
 these bones, the chest-cavity may be expanded or contracted, 
 whereby the breathing process is mainly carried on. Upon 
 each side of the sacrum (29-30) lies a bone of the pelvis, whose 
 upper surface is called the hip-bone. The pelvis-cavity is com- 
 posed of four bones, — the two innominata, the sacrum and the 
 coccyx, The abdominal cavity lies between that of the pelvis 
 
THE HUMAN SKELETON. 
 
 Fig. I. 
 
6 ESTHETIC PHYSICAL CULTURE. 
 
 and the chest, and is the seat of the greater portion of the digest- 
 ive organs. 
 
 J. The Upper Limbs ^ or the Anns. 
 These consist of the shoulder, the shoulder-joint, the humerus 
 or upper arm, the lower arm and the hand. The hand consists 
 of the wrist, the palm and the fingers. The shoulder-bones 
 consist of the two clavicles, or collar-bones (31) and the shoulder- 
 blades (32). The first extend from the breastbone to the shoul- 
 der-joint ; the latter lie along the back, connecting with the 
 clavicles and bones of the upper arms, and forming the-shoulder- 
 joints. By means of the clavicles, which, as we have said, connect 
 the bones of the humerus with the torso, the shoulder-joint is held 
 at the required distance from the torso, and the arms receive the 
 necessar}' freedom in their movements. The bone of the upper 
 arm (33), which is joined to the shoulder-blade and to the two 
 bones of the lower arm, helps in this way to form the shoulder 
 and elbow-joint. The lower arm has two bones, the radius (34) 
 and the ulna (35). The junction of the upper and lower arm 
 forms the elbow-joint (36). 'J'he wrist is composed of eight bones, 
 ranged in two rows, and bound firmly together. The five bones 
 of the metacarpus, or middle hand, articulate with the second 
 range of carpal bones (39). The four fingers and the thumb ar- 
 ticulate with these five metacarpal bones, the thumb having two 
 joints and the fingers three, the first of which is the largest (40), 
 the lower (41) being called the nail-joint. 
 
 4. The Lower Limbs^ or the Legs 
 Consist of the upper leg, the lower leg and the foot. The upper 
 leg, like the upper arm, has but one bone, the femur (42). 
 At its top there is a ball-shaped joint (43) which fits into the 
 socket of the pelvis, and forms the hip-joint. At its lower end 
 it connects with the shin-bone and the knee-pan, forming the knee- 
 joint (44). The knee-pan (45 a) is a heart-shaped bone which 
 covers the front part of the cavity of the knee-joint, and is at- 
 tached to the bones of both the upper and lower leg. 
 
THE HUMAN SKELETON. 7 
 
 The lower leg, like the lower arm, consists of two bones, the 
 tibia (45 /;) and the fibula (46). The first is much larger than 
 the second. At the lower end of these bones (47) are joints 
 connecting them with the foot, which, like the hand, consists 
 of three parts : The tarsus, the metatarsus and the toes. The 
 tarsus consists of seven bones (48-52) ; the metatarsus of five 
 (53j 54)> articulating at one extremity with the tarsal bones, and 
 at the other with the first range of toe-bones, and so united as to 
 give the foot a convex form, and conduce to the elasticity of the 
 step. The four smaller toes, like the fingers, have three joints, 
 while the great toe, like the thumb, has two joints. 
 
 After this condensed description of the bones we pass on to the 
 muscles, which are of more importance. 
 
CHAPTER II. 
 THE MUSCLES. 
 
 Who has not been entranced by some melodious, prolonged 
 strain of music, by pearl-like purity of colorature ? Who has not 
 been surprised at the sylph-like motions of a danseuse^ or the 
 grotesque springs of a dancer ? And yet few have been conscious 
 wherein lay the mystery of all this. It is, in fact, due to a har- 
 monious action of the muscles. All movements of the human 
 body are made by means of the muscles, which are fastened to 
 the movable bones of the skeleton, and are thrown into action by 
 the nerves. 
 
 No harmonious viovement is possible without a correct action of 
 the muscles. 
 
 We believe, therefore, that it may be said truthfully that a 
 knowledge of the structure and peculiarities of the muscles, of 
 the laws of their training and preservation, is the all-important 
 thing if we would do artistic work, if we would be graceful in our 
 actions in life. The muscles consist of a web of tendons and 
 sinews which possess the capability of contraction and expansion. 
 The contraction of a muscle is followed by a state of relaxation 
 (repose), either voluntarily or resulting from weariness, in which 
 state of repose nourishment is better carried on, as in a state of 
 contraction there is greater consumption of blood and nervous 
 strength. 
 
 By gradually-increasing and oft-repeated exercise, by proper 
 nourishment, by a flesh diet, the muscles gain incredibly in size 
 and strength, and obtain their full development, while they are 
 rendered weak and lax by inactivity and the lack of good food. 
 
 Gymnasts, dancers and piano-players attest the truth of this as- 
 
THE MUSCLES. 
 
lO ESTHETIC PHYSICAL CULTURE. 
 
 sertion. Singers, who produce such wonderful effects with those 
 small muscles of the larynx, have brought those muscles to this 
 degree of perfection by the right kind of practice, ever increasing 
 in vigorous effort, and followed by intervals of repose. 
 
 As an increased consumption of blood follows contraction of 
 the muscles, so, in the state of repose resulting from the cessation 
 of this contraction, an increased formation of •blood takes place ; 
 therefore it is self-evident that a muscle acting in steady alterna- 
 tions becomes far stronger, and less easily fatigued, than one 
 whose activity is constant or long continued. 
 
 Standing, for this reason, is more fatiguing than walking for the 
 same length of time. Paralysis of the muscles may be brought 
 on by too great or too prolonged exertion. Nothing but a per- 
 sistent exercise of the muscles, with alternations of the needed 
 repose, will at last fit them to make any movement the will 
 ordains. In the early stages of practice this is impossible, and in 
 the use of certain muscles one cannot guard against moving 
 others with them. Beginners in gymnastics, dancing, fencing, 
 etc., are almost incapable of keeping inactive the muscles that are 
 not required. 
 
 The erroneous belief obtains with many that the mind only 
 need be cultivated, and all other culture will follow. But the 
 thought originates in the brain, the brain acts upon the nerves, 
 the nerves upon the muscles, the muscles upon the bones, and 
 only after all these processes is physical action possible. What 
 avails the most intellectual letter if there is no messenger to con- 
 vey it to the desired place ? This is the office of physical gym- 
 nastics. 
 
 It is only after long practice that. the will alone may be relied 
 on to set the required muscles in motion. All who would perform 
 to acceptance before the public, must attain the greatest skill in 
 this respect. 
 
 After these brief remarks upon the muscles in general, we pro- 
 ceed to a description of them in detail. They may be divided 
 into two classes., viz., the voluntary and the involuntary muscles. 
 
THE MUSCLES. 
 
 II 
 
 Fig. III. 
 
12 .-ESTHETIC PHYSICAL CULTURE. 
 
 To the second class belong the hearty the diaphragm^ and the 
 viuscles of the intestines. All the others belong to the first class. 
 We distinguish {a) the muscles of the head, {b) the muscles of the 
 torso, (c) the muscles of the upper limbs, and {ii) the muscles 
 of the lower limbs. 
 
 The Muscles of the Head. 
 The muscle of the cranium (musculus epicranius), whose 
 front part is called the forehead muscle (musculus frontalis), and 
 has an important part in acting as its office, is to elevate and 
 lower the forehead, as well as to control the eyebrows, and also 
 
 The Muscles of the Face. 
 
 These, by means of the facial nerve, which controls all these 
 muscles, are closely connected with the brain, and for this reason 
 strong impressions upon the brain, or diseases of that organ, have 
 great influence upon the muscles of the face. They are the 
 means of expressing sensations and passions, and effect the play 
 of the features. Sad and painful emotions generally contract 
 the muscles of the mouth, eyes and forehead, and draw them 
 downward. Joyous emotions, into which the cheek muscles also 
 enter, draw them ttpward. 
 
 In Figures IL and II L the muscles are designated by numbers 
 as follows : 
 
 1. The skull and forehead muscle. 
 
 2. The face muscles. 
 
 3. The throat muscles. 
 
 4. The neck muscles. 
 
 5. The chest muscles. 
 
 6. The back muscles. 
 
 7. The abdominal muscles. 
 
 8. The pelvis muscles. 
 
 9. The shoulder-blade muscles. 
 
 10. The deltoid muscle. 
 
 11. The upper-arm muscles. 
 
THE MUSCLES. 1 3 
 
 12. The fore-arm muscles. 
 
 13. The hand muscles. 
 
 14. The upper-leg muscles. 
 
 15. The lower-leg muscles. 
 
 16. The muscles of the calf of the leg. 
 
 17. The tendon of Achilles. 
 
 18. The foot muscles. 
 
 The Muscles of the Torso. 
 These are the muscles of the throat, neck, chest, back, abdo- 
 men and pelvis. The throat and neck muscles (Fig. III., 4) 
 move the head forward, backward and sideways, turning and 
 stretching it. The muscles on the inside of the throat, which 
 rule the larynx, demand a special exposition that will not be given 
 here, as it belongs to the domain of singing and rhetoric. The 
 breast muscles (Fig. II., 5), leaving the breastbone uncovered, 
 lie around the whole cavity of the chest, and have the important 
 function of regulating the breathing, as well as moving the shoul- 
 ders and arms. The muscle which separate the abdominal 
 cavity from that of the chest, performs the main function in 
 breathing, and also serves for contracting the chest-cavity, is 
 called the diaphragm, and must have its special description in 
 the study of singing and speech. The spinal muscles (Fig. III., 
 6) serve to hold erect, bend and extend the whole torso ; they 
 move the shoulders and upper arms, and assist in breathing. 
 The important office of the abdominal muscles is to protect and 
 sustain the organs of the abdomen (intestines). It is to be espec- 
 ially noted that, if these muscles have to perform an arduous 
 work,- or to remain a long time in a tense position, they must be 
 contracted, or else injury to the person will result. The abdom- 
 inal muscles extend from the lower part of the cavity of the chest 
 to the pelvis, and form the front and side walls of the abdomen. 
 
 The Muscles of the Upper Limbs. 
 These may be divided into the following groups : — 
 I. The muscles of the shoulder extend from the clavicle (col- 
 
14 ESTHETIC PHYSICAL CULTURE. 
 
 lar-bone) and the shoulder-blade to the upper arm, and move it 
 in all directions. The strongest of them is called the deltoid 
 muscle (Fig. III., lo). 
 
 2. The muscles of the upper arm (Fig. III., 9, and Fig. II., 11) 
 lie partly upon the inner and partly upon the outer side of the 
 hurnerus, and serve to bend or stretch the fore-arm. 
 
 3. The muscles of the fore-arm (Fig. IIL, 12) move the hand 
 and fingers inward and outward, bending or stretching, with- 
 drawing or extending them. The hand muscles lie in the hand, 
 especially at the first and fifth joints of the metacarpus (Fig. II., 
 13)- 
 
 The Muscles of the Loiver Limbs. 
 
 These comprise (i) the muscles of the lower leg and foot, and 
 (2) those of the upper leg. The muscles of the upper leg (Fig. 
 III., 14) serve for stretching aild bending the knee-joint, and for 
 drawing the leg backward and forward. The tendons, which 
 draw it forward, lie in front ; those which draw it backward lie 
 behind. The tendons of the foot and the toes (15) are on 
 the back surface of the lower leg, forming the calf of the leg 
 (Fig. III., 16). They are peculiarly important in walking and 
 dancing. The lower end of the tendon, which is attached to the 
 top of the heel-bone, is called, on account of its strength, the 
 '' tendon of Achilles" (Fig. III., 17). The dilating muscles of 
 the foot lie upon its upper surface (Fig. II., 18) ; those which 
 dilate and contract the toes are in the sole or lower part. 
 
 All the mentioned muscles of the first group may be moved 
 voluntarily, and acquire incredible facility through practice. We 
 shall learn in the course of our studies of physical gymnastics how 
 many sorts of these voluntary movements there are. 
 
fUNIVBRSITT 
 
 CHAPTER III. 
 
 THE MECHANISM OF THE LIMBS. 
 
 The limbs of the human body move in accordance with the law 
 of the lever. It is not necessary to our purpose to explain this 
 law, and we need offer no further explanation of the arms than 
 that already given in our description of the muscles. It is quite 
 otherwise with the lower limbs, which are governed by spec- 
 ial laws relating to the centre of gravity. If these laws are not 
 strictly follow^ed, good walking is impossible. We must, there- 
 fore, dwell upon them, first treating of 
 
 The Centre of Gravity. 
 
 The relations of the centre of gravity to the base, decide 
 whether the body stands or falls. As every single part remains 
 subject to the laws of gravity, it will always be attracted to the 
 earth's centre. If a mass consists of unlike and variously-formed 
 pieces, each of these will, as far as possible, set its gravitating force 
 into action. These opposing influences must, therefore, unite in 
 such a way that their several actions meet at an imaginary point 
 — the centre of gravity. The whole body will then poise itself 
 as if its weight were accumulated at this place. A direct line 
 from this point to the base, therefore, designates its further rela- 
 tions. If this line meets the base, the body stands ; if it extends 
 beyond the base, the body falls. All the movements of men and 
 animals obey this law, but the centre of gravity varies with the 
 different positions assumed by the single limbs. 
 
 If a grown man lie with his limbs extended in a horizontal po- 
 sition, his arms resting symmetrically upon the lower part of the 
 body, his centre of gravity will be at the region of the last lum- 
 
i6 
 
 .ESTHETIC PHYSICAL CULTURE. 
 
 bar vertebra. If he sits, the pelvis with its side muscles forms a 
 base proportionally extended. He can then give the upper part 
 of the body a wide range without danger of falling. A too weak 
 or too narrow base involves a loss of equilibrium. 
 
 If the man stands still, the outer outlines of the feet form a 
 base inside of which the line of gravity may fall. But there is 
 much less security here than in sitting or lying down. The nar- 
 rower the base, the more liable one is to fall. For this reason, to 
 stand on tip-toe on a narrow board or rope is unsafe. If one leg 
 
 Fig. IV. 
 
 swings in the air, this lessens the base, and makes the position 
 more insecure for this and also for other reasons. That part of the 
 body represented by the raised leg, draws the mass to itself, and 
 easily carries it along. One, therefore, instinctively bends the up- 
 
THE MECHANISM OF THE LIMBS. 1/ 
 
 per part of the body to the opposite side. People with one foot 
 shorter than the other, on this account, often stand obHquely. If 
 a leg is missing, this only adds to the disadvantage, because the 
 centre of gravity is raised higher. Other thing3 being equal, a 
 body rests more firmly the nearer its centre of gravity lies to the 
 base. For this reason, sitting is safer than standing. 
 
 If a man stands erect, and with feet close together, the line of 
 gravity falls between the ball of the foot and the heel (Fig. IV., 
 S a). If the body bends a little backward, the line of gravity 
 falls at the end of the heel (S c). If the body bends forward, 
 it falls between the toes (S /?). The body standing in a straight 
 line cannot bend beyond these two points without falling. 
 
 The line of gravity, as we have just seen, must always fall upon 
 a point of the base on which the body stands ; for instance, the 
 man stands erect, with the feet sideways, and a step apart : in 
 this case, the centre of gravity falls right in the middle of the 
 
 Fig. V. 
 
 base on which he stands, equidistant from each foot. If he would 
 now stand upon one leg, this involves a change in the line of 
 gravity, which is removed to a point under the sole of the foot 
 upon which he stands. 
 
 Poses of the body in which the line of gravity is not quite 
 
ESTHETIC PHYSICAL CULTURE. 
 
 direct, may be made through various tensions of the muscles, but 
 these are unnatural, awkward and un^sthetic, and should enter 
 into neither the plastic nor the dramatic arts. 
 
 The Mechanism of the Walking Apparatus. 
 Walking depends upon a steady forward movement of the torso 
 over the ground through a periodically repeated action of the 
 legs, which so relieve each other that one alone causes the for- 
 ward motion, the other, meanwhile, being carried along. The 
 space in which one leg after the other finds itself in this position, 
 embraces exactly two steps. The leg bears the body forward .by 
 the tension of one or more of its previously-bent joints (Fig. V.). 
 
 Fig. VL 
 
 The leg that is carried forward while the other remains pendent, 
 swings past the other, carried onward by its own weight alone, 
 around the point of junction with the torso (Fig. VL). The 
 rapidity of this swinging motion, Irke that of the pendulum of a 
 clock, depends upon the length of the leg, which also has much 
 influence upon the duration of a step. All persons — children 
 and grown people — move in a tempo proportioned to the length 
 of the legs. 
 
 In ordinary walking, the beginning of the extension occurs at 
 the same moment in which the centre point of the socket has just 
 
THE MECHANISM OF THE LIMBS. I9 
 
 passed the point of support of the foot. One moment previous, 
 when the one stood vertically over the other, the leg had acquired 
 its utmost limit of flexion (Fig. VII.). 
 
 Fig. VII. 
 
 The legs, like the other Hmbs, can be moved forward by the 
 strength of .the muscles more rapidly than if impelled by their 
 own weight; but this demands so constant and energetic an exer- 
 tion of the muscles, that a gait so unnatural cannot long be main- 
 tained. 
 
 From the moment when the foot is placed in position, and its 
 joints begin to bend, until the moment when the socket of the 
 upper leg stands directly over its point of support, the leg sus- 
 tains the body through the strength of its muscles without moving 
 it forward ; for the other leg can no longer restrain the downward 
 movement of the body caused by its extension. This, therefore, 
 begins the shortening of its motor muscle, through which it not 
 merely secures a descent of the body around the axis of the footr 
 joint, but at the same time, moves the'centre of gravity forward- 
 in a more horizontal line (Fig, VIII.). 
 
 In the course of this movement the centre of gravity moves for- 
 ward gradually from the back part of the heel. Until it reaches 
 the ends of the toes, the points of support are successively at 
 
20 
 
 .ESTHETIC PHYSICAL CULTURE. 
 
 Other parts of the sole, l^ese move forward in the same manner 
 until the heel is at last raised from the ground, the foot stands 
 upon its toes, and its pendulum-like swinging begins. Meantime 
 the sole is gradually loosed from the ground, and supports itself 
 upon ever new points, like the rim of a carriage wheel rolling over 
 the road (Fig. V.). If, in our usual walking, we compare the 
 periodically-changing activity of one leg, we see, above all^ that 
 
 Fig. VIIL 
 
 the period the swinging demands is shorter than that in which the 
 leg is occupied, partly in sustaining, partly in moving forward. 
 
 As we have said, these two periods of the movements of one 
 leg embrace an interval of two steps. If we seek the parallel 
 movement of both legs inside of this period in the usual gait 
 (Fig. IX.), it is evident that the sustaining leg does not leave the 
 ground at the moment the other begins its swinging by the up- 
 lifting of the foot, but somewhat later. Therefore it follows that 
 both feet are for a certain time simultaneously in contact with 
 the ground. 
 
 That wavering in the gait, more noticeable in women than in 
 men, owing to the greater breadth of the pelvis in woman, may 
 be remedied by the counter motion of swinging the arms. The 
 drawing forward of the torso by swinging of the legs, may also be 
 
THE MECHANISM OF THE LIMBS. 
 
 21 
 
 corrected by swinging the right arm forward with the left leg, 
 and the left arm with the right leg. 
 
 The importance of this counter movement of the arms is recognized in the 
 military regulations of the present day, which command absolute freedom of 
 the arms; whereas forty years ago soldierly discipline required that they should 
 be pressed immovably against the sides of the legs. 
 
 Hence it follows, that in walking a pendulous movement of the 
 arms should take place. But this must not be too pronounced ; 
 the arms should hang lightly at the sides. 
 
 This is the simple mechanism of walking, which is the same in 
 all people having normal organs. The manifold ways of walking 
 depend upon the line of gravity: whether it is moved more slowly 
 
 *^2: 
 
 Fig. IX. 
 
 or quickly, more regularly or irregularly. The gait also varies 
 with the walking apparatus, with the aim proposed in walking, 
 and is impaired by stiffness, by bad habits, and by affectation. 
 
22 ^ESTHETIC PHYSICAL CULTURE. 
 
 From all that has been said, it is evident that the natural gait 
 arises, not from strength of muscle (false activity of the muscles), 
 but from the law of gravity. The law of gravity demands that in 
 walking, the body should incline forward. The more rapidly one 
 walks, the more he bends forward. If he inclines forward too 
 much, he must either fall from one foot on to the other, or strain the 
 muscles to prevent falling. If he does not incline forward at all, 
 he moves only by undue exertion of the muscles. We see at a 
 glance whether one moves onward by the law of gravity, or by 
 undue muscular effort. 
 
 Walking Forward. 
 
 We have now learned the mechanism of simple walking. To 
 recapitulate briefly : — 
 
 The leg which is to be thrust forward bends slightly in the 
 knee-socket, and the heel is thus loosed from the floor, while 
 the ball and the toes rest upon it, and the centre of gravity is car- 
 ried to the other foot. At almost the same moment, the body 
 bends slightly forward, the leg is stretched out ahead, and the 
 foot again plants itself firmly upon the ground. But at the mo- 
 ment when this foot touches the ground, and the centre of gravity 
 is consequently raised, the other foot lifts its heel, and, making a 
 slight pressure upon the ground with ball and toes, moves for- 
 ward in the same step. 
 
 The heel will touch the floor first. This is quite right, but it 
 must be the lower part (Fig. IX., b)^ not the back part (a\ and 
 no pause must ensue between the setting of the heel and toes upon 
 the ground. This is the simple process of walking, which, how- 
 ever modified, must still retain its main characteristics. 
 
 Hence, walking demands three different movements of the legs 
 and feet. First the heel is raised, then the leg is thrust forward, 
 and lastly the foot is set upon the ground, while the other foot 
 lifts its heel, and touches the ground with ball and toes. 
 
 To attain security in walking, stated practice is necessary to 
 strengthen the muscles, the gait being quickened gradually. 
 
THE MECHANISM OF THE LIMBS. 23 
 
 There is this difference between walking and running : In 
 the former, between every two steps a moment intervenes during 
 which both feet touch the ground ; whilst in the latter this never 
 occurs, both feet, on the contrary, being at times in the air. 
 
 lYcilking Backwai'd 
 is practiced in this way: — The heel is raised, as in walking for- 
 ward, the leg is thrust backward, the end of the foot being turned 
 outward with the great toe touching the ground. Then the whole 
 foot is set upon the ground, assuming the centre of gravity, while 
 the other, relieved of the centre of gravity, touches the ground 
 only with the little toe. This foot now passes the stationary foot 
 in a backward direction, and in the same way. 
 
 As one proceeds in this practice, he passes from slow to quick, 
 and on to running. This backward step requires much practice 
 as it is used constantly on the stage. It is also in frequent use 
 in court circles and in the salons of high life, where a knowledge 
 of it is of great advantage. In walking backward it must be 
 noted that the great toe is first set down with the knee bent very 
 much outward, and that it is not the flat sole or the heel which 
 first touches the floor. From the latter cause arise the awkward 
 backward movements of untrained people. A tyro, in stepping 
 backward, is sure to let his heel first touch the floor. 
 
 So much in regard to the mechanism of walking. We shall 
 treat in ''.Esthetic Gymnastics " of walking as indicative of char- 
 acter and passion, of walking as produced by habit and by affec- 
 tation. 
 
PART SECOND. 
 
 PHYSICAL GYMNASTICS. 
 
 " The Greeks first made themselves into beautiful forms, before they expressed 
 such objects in marble and painting." 
 
 Hegel's " Philosophy of History." 
 
INTRODUCTION TO PART SECOND. 
 
 Our foregoing observations in regard to things necessary for 
 the pupil to know at the outset, lead us next to that practice 
 which strengthens his muscles and ensures him the use of his 
 limbs, so that they may later become 'aesthetically serviceable to 
 his will. 
 
 We would not have smgle muscles stimulated through practice 
 to unusual strength, or to the capability of producing master- 
 pieces. We demand that all the muscles, the least as well as the 
 greatest, should receive that training which is indispensable to 
 easy, graceful movements, and we have, therefore, selected such 
 exercises as may be undertaken in any place, and without prepa- 
 ration or apparatus. We have not sought to include all those 
 exercises supposed to belong to the rubric of physical gymnas- 
 tics, but have laid aside all machine practice. Our book is 
 not for children, but for grown people who would pursue what 
 they neglected in youth, or what unfavorable circumstances de- 
 nied them. The author is certain, however, that this system 
 answers the purpose, and leads to the desired end, he having 
 tested it by years of application in his own teaching. 
 
 DIRECTIONS FOR PRACTICE. 
 
 Those who would pursue this practice of gymnastics without 
 injury, and with benefit to the health, must strictly follow the 
 directions here briefly laid down : — 
 
 I. The most suitable time for practice is shortly before break- 
 fast, dinner or supper. The best time is in the morning before 
 breakfast. After exercise, a pause of half, or at least a quarter 
 of an hour must ensue before eating, as digestion eannot be well 
 
28 ESTHETIC PHYSICAL CULTURE. 
 
 carried on in an excited state of the muscles. No exercise must 
 be taken upon a full stomach. 
 
 2. Success results only from perseverance. If the desired end 
 is to be reached, practice must be carried on with great regu- 
 larity. 
 
 3. Before beginning, all oppressive clothing must be removed ; 
 neck, chest and abdomen must be free from pressure. Women 
 must remove every sort of corset. 
 
 4. If, during practice, a decided 'rush of blood to the head is 
 remarked, or a quickened pulsation of the heart with rapid 
 breathing, the exercise must be carried on very circumspectly 
 and moderately, with long pauses ; that is, between every two 
 exercises there must be a normal action of the lungs. 
 
 5. During exercise, the breath must not be held in. On the 
 contrary, draw the air slowly, and in deep draughts, into the 
 lungs, and expel it just as slowly, not forgetting to contract 
 the abdominal muscles. 
 
 A right action of the kings is indispensable for the preservation of man, since 
 upon this depend the soundness of the lungs, the proper circulation of the blood, 
 and the health of the whole body. 
 
 The pauses between the exercises are, therefore, used for deep breathing, 
 which is practiced by inhaling the air slowly, and in as great quantities as possi- 
 ble, and expelling it just as slowly. 
 
 Diseases of all sorts result, in great measure, from defective breathing, as very 
 many, and hysterical persons in particular, breathe only with the upper half of 
 the lungs, thus injuring the lower half through lack of expansion. This fre- 
 quently leads to consumption in youth, and to asthma in old age. 
 
 6. The movements must be slow, but decided and energetic. 
 
 It is well in exercising to observe a certain measure, with counts either loud or 
 silent, which may cease as perfection is acquired by practice. 
 
 In the beginning make an exercise five to eight times ; after a few days, ten 
 to fifteen times ; after three or four weeks, twenty to thirty times. Never repeat 
 an exercise oftener. 
 
 Above all, guard against entire fatigue of the muscles. As soon as an undue 
 sense of weariness comes on, the exercise must be stopped or deferred until it is 
 over. Be content with small results at first. Strength and ease will come with 
 practice. * • 
 
INTRODUCTION TO PART SECOND. 29 
 
 That disagreeable tension of the muscles which ensues at first, need not cause 
 alarm in regard to the health, and induce one to abandon gymnastic practice. 
 Injury results only from senseless over-excitation of the muscles. A gradual 
 progress in exercise should be observed ; a safe and steady passage from easy to 
 difficult things. 
 
 7. Exercise must be carried on in pure air. If within doors, 
 the place should be thoroughly ventilated by opening doors and 
 windows before the practice begins. It must not be prosecuted 
 in jerks and starts. Women should be exceedingly careful in 
 this regard. 
 
 The double organs (arms, hands, legs, shoulders and hips) 
 should be exercised right and left alternately. 
 
CHAPTER I. 
 
 THE SINGLE MEMBERS — SIMPLE EXERCISES. 
 Base Position. 
 The exercise begins with knees outstretched, heels close to- 
 gether, toes turned outward so that the soles of both feet form 
 the sides of a right angle, the chest moderately expanded, the 
 
 Fig. X. 
 
 Fig. X., a. 
 
 shoulders thrown back, the hands hanging lightly at the sides or 
 resting upon the hips, and a perfectly erect attitude. This posi- 
 tion we call the base position (Figs. X. and X., a). 
 
THE SINGLE MEMBERS. 3 1 
 
 HEAD AND NECK EXERCISES. 
 
 Turning the Head to the Right and Left. 
 The head is turned slowly to the right without lowering it, as 
 far as the muscles of the neck allow (Fig. XL). Remaining 
 
 Fig. XI. 
 
 some time in this position greatly strengthens the muscles of the 
 throat and neck. The same practice is then observed by turning 
 the head to the left, while the body remains in its base position^ 
 and the shoulder-muscles are motionless. 
 
 The object of this practice is to give freedom to the muscles of the neck. 
 This is very necessary, for in gesture it constantly occurs, notably in persons of 
 high rank, that a slight turn of the head to one side or the other, without the 
 least movement of the body, is of great significance. When, through inflexibility 
 of the muscles of the neck, arising from want of exercise, the whole body turns 
 with it, as we often observe in persons without gymnastic training, the effect is 
 very ungraceful. 
 
 Bowing of the Head Forward^ Backward^ or to the Right and Left. 
 
 The head is bowed in a fourfold way, the trunk remaining 
 erect, without stretching the neck-muscles too powerfully. 
 
 The backward inclination of the neck, especially in women, 
 should be slight (Fig. XII.). 
 
 From this fourfold exercise of the head proceeds one exer- 
 cise : — 
 
 The Head Circle. 
 
 The four head movements are united by a circular line (Fig. 
 XIL, a-b)^ and also make a funnel-shaped movement without the 
 
32 .ESTHETIC PHYSICAL CULTURE. 
 
 passing of the head to its normal position. From the forward 
 inclination of the head we pass to the backward movements back 
 on the left and right sides, then again to the first forward move- 
 ment, the upper part of the body remaining in its base position^ 
 and the uninterrupted circular form slightly indicated. 
 
 A strong, muscular neck is not a feminine trait surely ; but women often 
 greatly strengthen the muscles of the head and neck by gymnastic exercises. 
 While the neck has to sustain the not inconsiderable weight of the head, an 
 oblique carriage of the head may be easily brought on if the neck, from weakness 
 or relaxation of its muscles, cannot perform the required service. In case of this 
 oblique carriage of the head, mothers and teachers have sometimes used collars 
 set with bristles so arranged that the bristles at once cause a disagreeable sensa- 
 tion if the neck inclines to one side. Tissot tells of the superior of a convent 
 who corrected this habit by instituting a sort of game in which a ball or some other 
 slippery object was carried on the head, the pupil who let it fall paying a forfeit. 
 
 A lady pupil came to the author of this work, — a singer who after two years' 
 study with another teacher, could not sing a note without turning her head con- 
 siderably toward the right shoulder, which, while giving her an awkward appear- 
 ance, also greatly injured the tone. He adopted the following method : As soon 
 as she began to sing he had her turn her head to the left shoulder, not allowing 
 her to sing a note in any other position. After some months when he saw that 
 fhe inclination to the right shoulder had wholly disappeared, he let her hold her 
 head erect. Now in singing there was a conflict between the right and left mus- 
 cles, but the effort to obey neither much facilitated the erect position of the head, 
 and the oblique leaning was wholly cured. 
 
 TORSO EXERCISES. 
 
 Shoulder Move?nents. 
 Both shoulders are raised as high and as forcibly as possible 
 
 Fig. XIII. 
 
THE SINGLE MEMBERS. 
 
 33 
 
 (Fig. XIIL), and then allowed to fall slowly into their normal 
 position. A too rapid fall will shake the head too much. 
 
 This exercise is first performed with both shoulders, and then 
 with one, the base position being strictly observed, even in regard 
 to the arms, which must fall loosely down from the shoulders, 
 without bending the elbows. The shoulders are then drawn for- 
 ward and backward, first singly and then both together. From 
 this movement results 
 
 The Shoulde?' Circle. 
 A movement upward, backward, and downward, forward and 
 again upward (without interruption), not by jerks, but in a circle. 
 
 1 
 
 1 
 
 The same movement may be made in a reversed order with the 
 shoulders elevated, forward, downward, backward, upward, etc. 
 In all practice only the required muscles should be active, all 
 the others being in perfect repose. This rule is to be strictly 
 observed. 
 
34 
 
 .^.STHETIC PHYSICAL CULTURE. 
 
 Rising and Falling of the Hips. 
 The leg fully extended is drawn by means of the hips up 
 toward the torso, and then allowed to fall slowly. 
 
 This movement is much restricted, as the foot cannot be raised more than two 
 or three finger breadths from the floor. 
 
 The Turning or Twisting of the Trunk. 
 The trunk is turned to the right or left with the legs extended 
 in a straight line, as if it would turn around on its own axis with- 
 out moving the hips (Fig. XIV.). This movement is limited, but 
 it is beneficial to the abdomen and to the lower muscles of the 
 back and hips. 
 
 Inclination of the Torso Forivard^ Backward^ Right and Left. 
 
 The legs are extended, the torso from the hips to the skull 
 bending forward until the torso and legs form a right angle 
 (Fig. XV.), then they pass slowly back to the base position. This 
 
 Fig. XV. 
 
 exercise, slow at first, grows more rapid until at last it assumes a 
 sort of violence, as if the upper part of the body were thrown to 
 the earth, and must be raised forcibly. 
 
THE SINGLE MEMBERS. 
 
 .uinVERSITY 
 
 The side movements (Fig. XVI.), and especially the backwafS 
 (Fig. XV.) can be executed only in a restrictive way. From the exercises just 
 described arises 
 
 T/ie Torso Circle^ 
 which is formed in the same manner as the head circle (Fig. XVI, 
 a^ b, c). But here no revolution on the axis takes place, as the 
 front of the torso must always retain the same position. 
 
 This exercise is most easily practiced with the hands at the hips (akimbo). It 
 gives excellent training to the muscles of the back and abdomen, an indispensa- 
 ble requisite in speaking and singing, as well as in every position requiring great 
 effort. It must be performed at the last with much energy of movement. 
 
 Elevating the Torso. 
 The pupil lies horizontally upon the back with limbs extended, 
 hands crossed over the breast or falling at the sides, and without 
 changing the position of the limbs or separating the feet, which 
 must touch each other at the heels, slowly and gently rises to a 
 sitting posture, and then lies down again. 
 
 Some pupils will find it impossible to go through with this exercise at first. 
 In this case, as well as in that of persons with weak abdominal muscles, a pillow 
 is placed under the head, or they grasp some fixed object with the toes in order 
 to maintain the equilibrium. After a while these aids can be dispensed with. 
 The object of this exercise is to strengthen the abdominal muscles. 
 
36 
 
 /ESTHETIC PHYSICAL CULTURE. 
 
 Torso exercises, that is, an activity of the muscles of the back, have an invigo- 
 rating influence upon the spinal marrow, and are all the more beneficial because 
 exercise of the muscles of the back is greatly neglected in every-day life. 
 
 All these exercises should be pursued with great industry, and, above all oth- 
 ers, those pertaining to the shoulders. Nothing can be more stiff, awkward and 
 ungainly than a shrug of the shoulders in which the whole torso moves. To 
 ladies, especially, ease in the shoulder-movements is indispensable. 
 
 To quote the words of Dr. Kloss, in his " Home Gymnastics for Women : " — 
 " When one reflects what influence the shoulders have in the development of the 
 bust, those exercises, which prevent a muscular laxness in this region, should be 
 prized as a means of beauty if the strengthening of the shoulder-muscles had not 
 a greater significance as a means for promoting health. Any injurious pressure 
 upon the shoulders must be transferred to the region of the chest that lies be- 
 neath them." 
 
 Ar?n Exercises. 
 The action of the arms and hands is of great importance in 
 acting and in gesture, because, next to the face, they are most 
 capable of expression. Special attention must, therefore, be given 
 
 
 ^y 
 
 Fig. XVII. 
 
 to the training of these muscles, and to the easy movement of 
 their joints. The wrist-joint is of great importance in gesture, 
 
THE SINGLE MEMBERS. 37 
 
 and much effort must be applied to rendering the hand free from 
 the lower arm. 
 
 ARM EXERCISES WITH OUTSTRETCHED ARMS. 
 
 I. Lifting and Moving the Ann. 
 
 The arm is lifted and extended slowly forward and upward 
 (Fig. XVII. , a, c, d), and then, with a slight swing, allowed to 
 fall back into the base position and beyond it {a-e). Both these 
 movements are slow at first, but grow more rapid until swinging. 
 The hand is left open, or it is clinched. The backward move- 
 ment is a limited one. 
 
 Lifting the Arm, — This is done sideways while the extended 
 arm is raised in a lateral direction, first with the outer and then 
 with the inner palm of the hand upward, until it touches the side 
 of the head, when it falls back to the base position. Here, also, 
 the full swing is made gradually. 
 
 When, by means of the foregoing exercises, the pupil has attained perfect 
 mastery over his shoulder-joints, he passes over to 
 
 2. The Arm Circle. 
 This is made as follows : — The arm being lifted as described 
 in section i, is passed forward and backward, and vice versa^ 
 until it resumes the base position, as in Fig. XVIL, a., c, d, e-a. 
 The movement begins slowly, growing more rapid until it is a 
 swinging movement. It is more elliptical than circular, but, by 
 frequent practice, can be made to approach very nearly to a cir- 
 cular form. 
 
 The shoulder-muscles, and those around the cavity of the chest, are set into 
 action by these movements, whose main object is to impart freedom to the shoul- 
 der-joint and to strengthen respiration, which is greatly facihtated by the expan- 
 sion of the chest. 
 
 J. Turning and Revolving the Arms. 
 The extended arm is raised sideways to the height of the 
 shoulder, so that the outer palm of the hand is uppermost ; the 
 
38 
 
 ESTHETIC PHYSICAL CULTURE. 
 
 Fig. XVIII. 
 
 inner palm is then turned upward, and this is done alternately, 
 with the wrist-joint as stiff as possible. The same exercise is 
 then carried on with the hand clinched (Fig. XVIII., a). 
 
 This movement will be most perfectly executed if the pupil imagines himself 
 driving a gimlet into a piece of wood with his outstretched arm. 
 
 4. Balancing and Oblique Movements. 
 The outstretched arms are moved forward (See Fig. LXVIII., 
 a^ d-a) so that the inner palms meet, and then backward as if 
 
 Cs:: 
 
 --:>3 
 
THE SINGLE MEMBERS. 39 
 
 they would meet behind the back, which they cannot do wholly. 
 This movement begins slowly, growing more rapid until swing- 
 ing is attained. The oblique movement consists in raising the 
 *rm, not to the height of the shoulder, but to that of the elbow 
 (See Fig. LXVIIL, a, c-d)^ and is executed in the same man- 
 ner. In this way the outer palms of the hands can be carried 
 behind the back until they touch, especially by rapid, powerful 
 swinging. In both these movements the front muscles of the 
 chest act alternately, -half the front and half the back wall of 
 the chest-cavity acting in unison. They facilitate breathing. 
 
 ARM E}^ERCISES WITH THE AID OF THE ELBOW-JOINTS. 
 
 The movements of the elbow-joint are of a twofold sort — the 
 flexor and the extensor movements, or the attraction and repulsion 
 of the lower arm from the upper arm. 
 
 I. Att7'actio7i and Repulsion. 
 This happens when the lower arms are drawn upward from the 
 base position until the clinched hands nearly touch the shoulders. 
 The lower arm is then allowed to fall tense with strained mus- 
 
 ^-Ji.--, 
 
 Fig. XX. 
 
 cles, even with a sort of thrust, back to the base position. This 
 exercise can be carried out downward, upward, forward, outward 
 and backward, in a limited degree (See Figs. XIX. and XX.). 
 
40 yESTHETIC PHYSICAL CULTURE. 
 
 During the downward movement the upper arms remain in the 
 base position ; in all other sorts of repulsion they are obliged to 
 follow the lower arm. In regard to the foot, it may be remarked 
 that the centre of gravity rests more upon the toes than upon the 
 heel, in order to avoid too great concussion of the brain. 
 
 If the fore part of the hand is now placed upon the shoulder, 
 the movement is made from the elbow, as if one would strike out 
 from behind (eight or ten times), an excellent exercise for ex- 
 panding the chest. 
 
 2. Movement of the Ar?ns Behind the Back. 
 The hands are folded behind the back near the loins, so that 
 the inner palms join ; then the pupil seeks to extend the arms 
 without loosening the hands, raising, as far as possible, the arms 
 
 
 Fig. XXI. 
 
 still extended stiffly behind (Fig. XXL), lets them down again, 
 and goes on thus, slowly at first, and then more rapidly. The 
 spine must not be bent. 
 
 By these movements the shoulders are tensely and strongly drawn back, the 
 extension drawing them downward and thus enforcing a bearing noble and con- 
 ducive to health, while the front wall of the chest is widened and breathing facil- 
 itated. They are a safe-guard against protrusion of the shoulders, against 
 
THE SINGLE MEMBERS. 4I 
 
 laxness and paralysis of the back shoulder-muscles, which may be discerned in a 
 crooked posture of the body and an inability to correct it by an effort of the will ; 
 they also prevent most sorts of chronic asthma. 
 
 t.-- 
 HAND AND WRIST PRACTICE. 
 
 The arms and hands extended sideways are brought into equi- 
 librium (with the outer pahns upward). The hands are now 
 raised by a mere wrist-movement, the fingers remaining stiff, and 
 carried upward, downward, forward, backward and in a circle, the 
 outstretched arm still retaining its position. Each of these exer- 
 cises is practiced six times. Then the fingers are closed upon 
 the palm, and the several movements, just described, are again 
 made, assuming gradually the form of a perpendicular figure 8, 
 and at last that of a horizontal one ( 00 ). 
 
 Finger- Stretching and Spreading. 
 
 This exercise is accompanied by that of spreading and stretch- 
 ing the fingers, the clinched hand being opened suddenly as if 
 something were thrown violently away. Then the fingers are 
 
 spread as widely as possible, and this again, as if they had to 
 overcome some opposition with muscles tensely drawn, claw-like, 
 
42 >^STHETIC PHYSICAL CULTURE. 
 
 and contracted to a fist. This practice is carried out with arms 
 pendent, the lower arm being drawn slightly toward the upper 
 one, and then thrust away, the fingers being spread suddenly 
 (Fig. XXIL). 
 
 Unimportant as these exercises may seem, they give freedom to the wrist-joint, 
 which can be acquired in no other way, and the importance of this joint in ges- 
 ture is universally known. If the wrist is stiff, an arm-movement will be awk- 
 ward and angular; but with a stiff elbow and a flexible wrist, the movement can 
 be tolerated. Even the movement of a finger is of the greatest importance in 
 gesture, but the first rule is to be sparing of movements of the hands and 
 fingers. 
 
 Graceful movements of hand and fingers *^ are of very great importance to 
 women, on account of delicate, feminine handiwork, as well as fine and graceful 
 gestures. 
 
 LEG AND FOOT PRACTICE. 
 
 I. Exercise with Stretched Leg — Leg Swinging. 
 The tense leg is raised somewhat from the floor, then gradu- 
 ally as far as possible, and the pupil stands for a long time upon 
 
 one leg (Fig. XXIII., a, b). Then the leg is going backward 
 {a, c), then sideways in the same manner, until the full swing is 
 completed. From these movements arises 
 
THE SINGLE MEMBERS. 43 
 
 2, The Leg Circle^ Foi'ward and Backward, 
 as represented in Fig. XXIII., a, b, r, a^ a circle having more or 
 less the- elliptical form, and then backward, ^, c, /;, a. 
 
 MOVEMENT OF THE HIP AND KNEE-JOINTS. 
 
 /. The Flexion and Extension of the Knee Backwai'd. 
 The lower leg passes backward, the upper leg standing still, 
 until both form a right angle; first slowly, and then more rapidly; 
 then on until the lower leg passes over the line of the right angle 
 with the heel almost touching the breech (Fig. XXIV., b). The 
 centre of gravity rests at the point of the stationary foot, to avoid 
 jarring the brain. This exercise, if performed rapidly, is attended 
 with a sort of swing. Then the knee still remaining tense, the 
 leg is thrown with some violence back into the base position 
 without striking upon the floor. 
 
 2. The Flexion and Extension of the Knee Fonvard. 
 The upper leg is thrown forward, the lower leg falling perpen- 
 dicularly so that both form a right angle (Fig. XXIV., Cy d) \ 
 
 a 
 Fig. XXIV. 
 
 then the lower leg is extended slowly so that it is at length in 
 equilibrium, and forms a right angle with the stationary leg 
 
44 . .ESTHETIC PHYSICAL CULTURE. 
 
 (a, e). It then passes slowly back to the base position. After 
 some practice this is done with facility. 
 
 The object of this exercise is to strengthen the flexor and extensor muscles of 
 the knee, and give freedom to the knee-joint. Exercises with a Hke purpose, 
 and which the author has seen attended with beneficial results to his own pupils, 
 are also introduced into his system. He calls them simply exercises for 
 
 J. Strengthening the Muscles of the Leg. 
 I. 
 (a) The right leg takes a long stride out of the base position (far- 
 ther than in Fig. LXVIL), while the sole of the left foot remains 
 fixed upon the floor. The hands are then braced against the 
 hips, and the upper part of the body, held in a vertical position, 
 with chest expanded and shoulders thrown back, is allowed to 
 sink toward the knee of the right leg, while the left leg remains 
 stiff. The natural result is that the right knee passes beyond 
 the line of the toes. When the utmost limits of the flexion are 
 reached, the body remains for a short time in this position; then 
 (b) without raisiqg the sole of either foot from the floor, the body 
 is allowed to sink toward the knee of the left leg, the right leg 
 being held stiff, and to remain as long a time as before. Then 
 {c) a. full swaying of the upper part of the body takes place (from 
 a to b and vice versa) ^ increasing in rapidity until the swing is 
 complete. This exercise is performed ten or twelve times. 
 
 II. 
 
 The exercise given under I., a, is carried out, and when the 
 forward knee has reached the utmost limit of tension, the centre 
 of gravity is carried over to this leg alone, while the stationary 
 leg is raised from the floor, so that the pupil stands upon one 
 strongly bent leg, while the other is thrust stiffly backward into 
 the air. This position is retained a long time, then the same 
 movement is repeated with the other leg. 
 
 III. 
 
 Exercise II. is practiced with the leg extended and bent alter- 
 nately ten or twelve times in rapid succession, so that the upper 
 
THE SINGLE MEMBERS. 
 
 45 
 
 part of the body, still held in a strictly vertical position, sinks 
 and rises by turns. 
 
 These exercises are excellent. They impart strength to the knee-joint, mak- 
 ing kneeling and rising far more easy, adding firmness to the gait, and improv- 
 ing the carriage of the whole body. 
 
 MOVEMENT OF THE HIP, KNEE AND FOOT-JOINTS. 
 
 I. Foot-Extension, 
 (a.) The pupil rises slowly from the base position, his hands 
 resting against the hips, his heels close together, and sinks down- 
 ward just as slowly, standing for a long time upon the toes ; then 
 ever more rapidly without touching the floor with his heels, he 
 
 Fig. XXV. 
 
 steps briskly up and down ; (d) then standing upon the toes, he 
 sinks slowly and with closed knees into a sitting posture, remain- 
 ing in it for some time; then (c) into a cowering posture of some 
 duration (Fig. XXV.); then (d) he again rises to a sitting pos- 
 ture retaining it for some time, then passes back to the base po- 
 
46 /ESTHETIC PHYSICAL CULTURE. 
 
 sition without having separated his heels during this whole inter- 
 val. At last (e) he condenses exercises (<^, c) and (c/) into 
 one, passing from the base position to (d), (c) and{^/), and with- 
 out pause, returning to it again. This last exercise goes on from 
 eight to ten times without interruption. Throughout all the 
 gradations of this practice, the upper part of the body must re- 
 main strictly vertical. 
 
 This exercise gives freedom to the muscles of the legs and feet. As it requires 
 great effort, it is practiced only a few times in succession, until the muscles have 
 become perceptibly strengthened. 
 
 2. Foot Extension^ Flexion and Circling. 
 Fhe foot is raised, the knee stretched, being somewhat thrown 
 forward, the toes against the floor and turned outward. They 
 are then drawn Upward toward the knee, and then downward six 
 or ten times ; then to one side and then the other. From these 
 movements results the foot circle (necessarily very limited ; Fig. 
 XXVI.). 
 
 The shin-bone, the muscles of the calf of the leg, in fact all the muscles of 
 the lower leg are thus brought into action. This movement serves to give free- 
 dom to the ankle-joint, the tarsus and the toes. 
 
 Everyone who, without gymnastic training, appears in public and feels as if 
 his feet were filled with lead and his legs were iron bars, recognizes how impor- 
 tant it is to give strength and elasticity to these muscles. 
 
 Fig. XXVI. 
 
CHAPTER 11. 
 THE LIMBS AS A WHOLE — COMPLEX EXERCISES. 
 
 The object of the exercises given thus far, has been to de- 
 velop certain muscles singly ; those we now give will set all 
 the muscles in action simultaneously to a greater or less degree, 
 and are, to a certain extent, the result of all the preceding exer- 
 cises. 
 
 If the student has diligently practiced the exercises hitherto 
 given, he need not go through them all daily ; but he must prac- 
 tice those we now give every morning, if he would have his 
 limbs remain supple and his movements graceful. 
 
 The great singer Mme. -Schroder-Devrient, whom the world 
 looked upon as one of those favored geniuses, to whom every- 
 thing comes in sleep, once said to the author of this work : 
 ^' While I remained upon the stage, and this was quite a long 
 time, I went through certain gymnastic practices every morning. 
 They at length became indispensable to me, and to-day, as an 
 elderly woman, I still continue them." 
 
 The oft-repeated maxim, '* Everything comes to genius over 
 night," is belied by this assertion of one of the greatest of ge- 
 niuses. 
 
 I. Exercises for the Upper Fart of the Body, 
 (a) Begin with the following movements : The hands should 
 be brought from the base position (in which the arms hang- 
 loosely at the sides) toward each other, in front of the body, until 
 the index fingers nearly touch (Fig. XXVIL, i, 2). Then raise 
 the arms above the head with a round, graceful movement on 
 the dotted line from 2 to 3. Let them remain in this position 
 some time, describing a half-circle, the tips of the index fingers 
 
48 
 
 .ESTHETIC PHYSICAL CULTURE. 
 
 almost meeting; then loose the circle gradually, letting both 
 
 arms fall slowly back to the base position at the side (3, 4, 5, 6, i). 
 
 This exercise should be performed at first slowly, accompanied 
 
 by slow, deep breathing. The chest is dilated, and the move- 
 
 / 
 
 ^^.'^T'- 
 
 '-^S,-X^' — I 
 
 
 ^y--.. 
 
 ir;-">^^^x=?» ^ 
 
 Fig. XXVII. 
 
 ments should be made faster and faster up to a regular swinging 
 of the arms. 
 
 Breathing from the lower part of the chest, as prescribed for 
 speaking and singing, must, of course, be practiced here ; for, 
 when the arms are raised above the head, the upper muscles of 
 the chest are at their highest elevation, and the lower cavity 
 of the chest must expand. 
 
 This exercise is the first in our system which demands more 
 
THE- LIMBS AS A WHOLE. 49 
 
 than a mere bending and stretching of the limbs. It forms the 
 basis of XhQ port de bras of the art of dancing. Like all the com- 
 plex exercises which follow, it must have an element of grace. 
 The upper arms should begin the movement, which must be at 
 once visible in the entire arm, even to the finger-tips. Moving 
 the lower arm first, produces angularity and stiffness. We shall 
 come, further on, to the fundamental rules for arm-movements, 
 which will be treated at some length. 
 
 The hands must follow easily and gracefully the movements 
 of the lower arm, the palms being somewhat narrowed unless it is 
 absolutely necessary to spread them, as in a repellent movement. 
 
 (b) Perform exercise (a) with one arm at a time, the other 
 hanging gracefully at the side. 
 
 {c) Perform exercise (a) raising the arms only to the height of 
 the shoulders, and when the arms, in returning to the base posi- 
 tion, are stretched out on a level with the shoulders. Retain 
 them for a time horizontally extended (Fig. XXVII., 4-4), and 
 then let them sink into the base position. 
 
 (^) Perform exercise {a) without extending the movement 
 above the level of the hips, first with both arms, and then with 
 one at a time (5-5). 
 
 (e) Perform exercise {a) in such a way that the principal move- 
 ment shall proceed from the wrist, and to a slight extent from the 
 elbow-joint (i, 2, 6, i). 
 
 (/) Perform exercise {a) turning the trunk to the left until 
 the arms stand over the head (3). Retain this position for a 
 time with the look directed upward, and then complete the exer- 
 cise while the trunk is being brought back to the base position ; 
 then, without any pause, repeat the same exercise, turning the 
 trunk to the right. Continue with this alternating exercise for 
 some time, gradually increasing the rapidity of the movements 
 and keeping the head and look as above mentioned. 
 
 The exercises (^), {c) and (d) should then be practised in the 
 same manner ; first with both arms, then with one. 
 
50 
 
 ESTHETIC PHYSICAL CULTURE. 
 
 2. Exercises for the Legs and Feet — The " Leg Circled 
 (a) One leg is bent slightly at the knee-joint at '' i," as in 
 walking forward, the heel being raised from the ground, and the 
 
 
 Fig. XXVIII. 
 
 centre of gravity transferred to the other foot. At ^' 2," this leg 
 is lifted as high as possible, the toes being turned outward ; at 
 " 3 " it is moved sideways and backward (Fig. XXVIII., 3), de- 
 scribing three-fourths of an ellipse ; at ^^4 " the knee is bent, the 
 toes being turned outward and downward, and the heel drawn 
 upward, and the leg is brought past the stationary leg and then 
 extended again forward, this last movement being performed 
 with a certain stress. The base position having been resumed, 
 the same exercise should be immediately performed with the 
 other leg. 
 
 (^) Repeat exercise (a) a number of times, gradually reducing 
 the elevation of the leg and the size of the circle, until at last the 
 
THE LIMBS AS A WHOLE. 5 1 
 
 movements are performed with the lower leg, and finally with 
 the foot alone. 
 
 J. Exercises for the Upper Body, ^^K^ ^^^^ Feet. 
 
 (a) The exercises given in sections i and 2, a, should be taken 
 toofether. First with both arms and one foot; then with one arm 
 and one foot, the right foot and the left arm, and vice versa. 
 
 (b) Perform the exercises in sections i and 2, a, up to the point 
 at which the foot is carried farthest backward, and then remain 
 for a time standmg on one leg, the hands held lightly over the 
 head, the upper portion of the body much bent forward, and the 
 look turned upward; and from time to time making a flexor and 
 extensor movement with the stationary leg — first slowly, then 
 more rapidly. Then, bending the body backward, bring the foot 
 forward (Fig. XXVIII. , as is shown by the dotted line 3, 4, 5, 2), 
 the toes directed downward and outward ; at the same moment 
 place the arms in the position shown in Figure XXVII., 4, 4, and 
 make again the flexor and extensor movements with the station- 
 ary leg. 
 
 This movement of the legs forward and backward, with the 
 corresponding arm movements, should be performed several 
 times in succession, and with each change the flexor and exten- 
 sor movements should be made six or eight times in quick suc- 
 cession. 
 
 (c) Walk forward and backward according to the rules given 
 for walking, counting, as you go, one, two, three, keeping the 
 arms above the head, and with each step remain for a short time 
 resting firmly on one leg, while the other is held backward in the 
 air or forward in walking backward. 
 
 {d) Walk, according to the rules, forward and backward, count- 
 ing as before, but without stopping at each step, and perform 
 without interruption the exercises with the arms, i, 2, 3, 4, etc. 
 (as in Fig. XXVII.). The arms must not pass abruptly from 
 one number to the other, but gracefully describe a circle. 
 
52 ESTHETIC PHYSICAL CULTURE. 
 
 The exercises under (c) and (^), the latter first with one arm, 
 and then with both, should be performed for five minutes. 
 
 All these movements must be made exactly in the designated 
 order, and practiced every morning during one's life-time by ar- 
 tists, whether men or women, if they would keep their limbs supple. 
 » Some of the dancing steps will be of great value to the pupil. 
 These steps, under their well-known French names, are as fol- 
 lows : 
 
 1. Les petits battetnents, 
 
 2. Changement des pieds, 
 J. Port de bras. 
 
 4. Pas de basque. 
 
 They will be fully described hereafter. 
 
 Instruction in Physical Gymnastics, so far as is necessary to 
 our system, is now ended, and we proceed to Esthetic Gymnas- 
 tics and the principles of acting. 
 
 Only by a thorough study of Physical Gymnastics, can the 
 pupil become capable of practicing Esthetic Gymnastics. 
 
PART THIRD. 
 
 ESTHETIC GYMNASTICS. 
 
INTRODUCTION TO PART THIRD. 
 
 The office of aesthetic gymnastics is to unite in a harmonious 
 whole the limbs of the human body, which have been strength- 
 ened and rendered elastic by physical gymnastics ; to regulate 
 their movements by the fixed laws of beauty, so that the emo- 
 tions of the soul may be clearly and beautifully expressed. 
 
 This portion of our work comprises two divisions : (i) The 
 pure plastic and universally beautiful, which embraces the sub- 
 jective of men in real life; and (2) the play of mien and gesture, 
 or the objective, which appears upon the stage in the delineation 
 of other men. We call the first part the Plastic, and the second 
 part the Mimic. 
 
 By plastic we understand not repose alone, but also the transi- 
 tion from repose to movement, and from one position to another; 
 that is, beauty in movement, or the "animated plastic." 
 
CHAPTER I. 
 
 THE PLASTIC. 
 
 1. Of the Human Body and its Limbs. 
 
 Standing. — The posture must be in no way stiff, forced or arti- 
 ficial, but free and unrestrained. The body, from crown to sole, 
 must form a perpendicular line (women may incline the head 
 slightly forward) ; the line of gravity, whether the feet be in 
 contact or separated, passing as nearly as possible through the 
 centre of the base. If the line of gravity falls toward either end 
 of the base, that is, if the body rests too much on one leg, these 
 disadvantages ensue : The body, by reason of a slight weariness, 
 is forced to sustain itself, first on one leg and then on the other, 
 and thus mar every impression of decorum or grace ; the hip, 
 on the side on which the body rests, will protrude and produce 
 an awkward appearance ; the upper part of the body is also 
 thrown out of the vertical line, and the shoulders, in the move- 
 ments of the arms, will form oblique lines. The most conven- 
 ient, and, at the same time, most agreeable position, is that 
 designated in dancing as the fourth, in which that foot is placed 
 forward which is on the side of the person addressed. The fore- 
 most foot must always stand next to the interlocutor (Fig. 
 XXIX., a). Sustaining the body on this foot, and setting for- 
 ward the other, is the mark of an awkward person. 
 
 In all our elucidations we refer only to persons in cultured circles. If the 
 actor has to personate those in other spheres, he must take lessons from life in 
 its manifold gradations, omitting, of course, everything that positively offends 
 the aesthetic sense. 
 
 2. The Limbs Singly, in a State of Rest. 
 
 Let the head rest lightly and gracefully upon the neck, held 
 perpendicularly, the chin being in a horizontal position, and the 
 
THE PLASTIC. 59 
 
 eyes avoiding a fixed upward or downward look. Let the mouth 
 remain closed, but not with compressed lips, and breathing take 
 place through the nose. 
 
 Fig. XXIX. 
 The most beautiful head, especially in woman, will be marred 
 by an ungraceful carriage, as the finest foot, through a bad posi- 
 tion, will lose the greater part of its beauty. 
 
6o 
 
 ESTHETIC PHYSICAL CULTURE. 
 
 The shoulders must not be drawn upward or forward, but 
 should be drawn somewhat backward, their horizontal line be- 
 ing preserved. On no account should we seek to emphasize tone 
 
 Fig. XXIX., a. 
 
 or word by a rising or falling of the shoulders. The shrug of 
 the shoulders is, of course, excepted, as are also the few instances 
 
THE PLASTIC. 6l 
 
 in which a movement of the shoulders is allowable. Among 
 these are the representations of horror, or of sudden terror, in 
 which the neck and head sink down between the raised shoul- 
 ders. 
 
 Avoid a forced expansion of the chest, as it produces an im- 
 pression of stiffness ; still less must the chest be drawn inward. 
 If this rule is strictly followed, crookedness of the back is im- 
 possible. 
 
 The abdomen should be drawn in somewhat. The arms must 
 hang lightly and gracefully, and the drawing back of the elbows 
 (a frequent fault in women) should be avoided. The carriage of 
 the hands should be easy and unrestrained, the upper palms for- 
 ward and the thumbs turned toward the thigh, yet in such a way 
 that the thumb is visible (Fig. X.). In women the hands should 
 be rather more forward (Fig. X., d). 
 
 In the ^' rococo age " the ladies held the hands in the follow- 
 ing way : The upper arm was kept vertical, the lower arm hung 
 lightly forward along the waist, and the right hand was laid on 
 the left with its finger clasping it. This carriage of the hands is 
 still, in our day, the most becoming. It is against the rules of 
 decorum with both sexes to thrust the hands on the hips, or hold 
 them crossed over the stomach, or lay them — in conversation 
 with a person of higher rank — behind the back, or to thru-st them 
 into the pockets. 
 
 In the last century it was no breach of etiquette to place the 
 hands inside the waistcoat ; but they were never thrust into the 
 pockets, least of all into the pockets of the pantaloons. 
 
 The fingers must be neither spread apart nor compressed, but 
 each finger must keep its own place somewhat apart from the 
 others; they should be bent but slightly, the index finger least, 
 the little finger most of all. 
 
 The knees must not bend outward; neither must they be much 
 drawn inward. In the one case laxness is indicated ; in the 
 other, stiffness. 
 
62 ESTHETIC PHYSICAL CULTURE. 
 
 When one addresses a person of his own rank, the feet gener- 
 ally assume the fourth position ; when a person to whom he 
 would pay deference, the first position. In the ^'rococo age" 
 the feet were likewise held in the fourth position, but were 
 brought nearer and nearer to the third, as the person addressed 
 demanded more respect, until before a prince the third position 
 was fully assumed, but never the first. (See Figs. LXVI. and 
 LXVII.) This position was reserved only for soldiers and ser- 
 vants, or for persons receiving an order or a command. 
 
 J. Movement of the Arms and Hands. 
 
 Here all angularity and all parallels must be strictly avoided. 
 Practice of the hand and arm exercises already given will ensure 
 the student against these faults. Emphasizing what has been 
 said on this subject, we proceed to treat of movements of the 
 arms and hands. All such movements are based upon the p07^t 
 de bras of the art of dancing. 
 
 In every movement of the arms outward from the base posi- 
 tion, the impulse to the movement, as we have already learned, 
 should be given by the upper arm, which must appear to draw 
 
 / z 3 ^ ^ e 
 
 Fig. XXX. 
 
 the lower arm and hand after it. Any movement of the arms, to 
 be truly plastic, must conform to Hogarth's line of beauty. Let 
 us explain this line. 
 
 Of all lines, the wavy line has the purest aesthetic form ; the 
 
THE PLASTIC. 63 
 
 slight curvature, the gentle transition from one direction to 
 another, make this line the most pleasing of all to the eye, and 
 give it the first place in aesthetics. The wavy line can be varied 
 infinitely. Hogarth, from a row of curved lines, the first of 
 which curves but slightly, the next curving more, and so on, se- 
 lects the middle line as the most perfect, and calls it the li7ie of 
 beauty (Fig. XXX., 4). Numbers 5, 6 and 7 become ungraceful 
 because they curve too much, while numbers 3, 2 and i are too 
 straight ; hence 4 is the chosen line. Hogarth himself says of 
 this wavy line : '' It is known that bodies in motion always de- 
 scribe a line in the air. For example, the firebrand flung hastily 
 creates a circle for every eye ; the waterfall a curve ; the ship 
 upon the billows a wavy line, etc. So, also, the organic body 
 when it moves entire, or only one limb. For instance, in break- 
 
 FiG. XXXI. 
 ing a wild, beautiful horse, which rushes on without a rider, we 
 remark a long curve line in the way in whjch it sweeps through 
 the air. This will all the more forcibly strike the eye in the 
 human body, if we compare its movements with the straight 
 lines of the puppet (Fig. XXXI.). The effect of the curve line 
 may be noticed when one reaches a fan or some such object to 
 a lady." * 
 
 Figure XXXII. exhibits on the right hand side the angular pup- 
 pet movements, as Figure XXXI., and on the left hand side the 
 movements conforming to Hogarth's wavy line. 
 
64 
 
 ESTHETIC PHYSICAL CULTURE. 
 
 All movements of the arms, to be performed aesthetically, must 
 conform to this line of beauty. Suppose, for example, that the 
 hand (Fig. XXXIL) is to be moved from the base position to 
 
 
 
 FiS. XXXII. 
 
 any of the five points marked down on the curved line a-d ; the 
 path of the movement must be none other than the dotted wavy 
 
THE PLASTIC. 65 
 
 line drawn to that point. If the hand is made to describe 
 the straight lines c-g, g-d^ we shall fall into the puppet move- 
 ment (Fig. XXXI. ). Even a repellent movement, whether great 
 or slight, quick or slow, must take the direction of the wavy line. 
 
 This is the fundamental rule for all arm movements, and its 
 various modifications arise only from the greater or less curva- 
 ture of this line described by the hand. Beginners, and even 
 those who have belonged for years to the stage, constantly of- 
 fend the eye by following the straight lines Cy g, d, in arm move- 
 ments. Every one feels and derides the helplessness, angularity 
 and absurd stiffness of this kind of movement without under- 
 standing its cause. If one understands the Hogarth line of 
 beauty, he has reached a standpoint the attainment of which 
 would require years without this knowledge. If he directs his 
 movements in accordance with it, angularity and stiffness at 
 once vanish. 
 
 When the arm falls back to its base position, the Hogarth line of 
 beauty must also be strictly observed. While in every move- 
 ment of the arm from the base position the impulse is given by 
 the upper arm, in every movement back to the base position the 
 hand must appear as giving the impulse. 
 
 The only way to the attainment of graceful, dignified move- 
 ments, lies in the observance of these forms and their modifica- 
 tions, arising from situation, individuality, etc. 
 
 These lines need not be followed with school-boy conscien- 
 tiousness and over-scrupulousness, but their main characteristics 
 must be retained under all circumstances. Care must be taken 
 not to make the wavy line too much curved or serpentine, as in 
 Figure XXX., 7 ; and on the other hand one must avoid too 
 slight curvature, which may degenerate into straight lines. 
 
 Let those who are inclined to deride all this as pedantry, ob- 
 serve the grace of a danseuse^ her admirable ease and lightness, 
 the round movements of her limbs, and reflect that without fun- 
 damental rules she could not have learned all this which so 
 
 5 
 
66 ^ /ESTHETIC PHYSICAL CULTURE. 
 
 charms and delights us. She has so long practiced this one rule 
 of Hogarth's that every movement has become facile and pleas- 
 ing. 
 
 At the beginning of this book we declared utterly false that 
 method of most teachers, who give certain studied movements 
 for all human passions, whether joy or sorrow. All that is nec- 
 essary is a fundamental rule, however pedantic it may appear to 
 the superficial student. The finer shades must be sought out 
 by him ; only in this way can he prove his originality. 
 
 Only when I know a theme perfectly, can I ?nake variations 
 -upon it. 
 
 In plastic aesthetics it is not allowable, if simple, passionless 
 emotions are to be depicted, to let the arm movement extend 
 beyond the height of the shoulder. All emotions, which are 
 not manifested in exalted language, must have their expression, 
 so far as arm movements are concerned, inside of the following 
 positions of the arm : The first, second and third a (see Fig. 
 
 Fig. XXXIII. 
 LXVIII., a, the space between a, d, e, and Fig. XXVII., the 
 space between i and 4), that is, within the limits the hands can 
 describe from the base position, sideward and forward. 
 
 How ugly and unskilful is it when Tamino, in replying to the 
 question, ^' Who will give us an answer?" accompanies the words 
 
THE PLASTIC. 
 
 67 
 
 ■^^The gods ! " with the movement exhibited in Figure XXXIII., 
 instead of making the movement in Figure XXXIV! 
 
 Passionate, eccentric emotions find their expression in the do- 
 main of the high port de bras ; viz., in the third position (b) of 
 the arms ; that is, the arms, in such moments, pass beyond the 
 shoulders over the space between d, a^ b (Fig. LXVIII., ^), and 
 over the space 3 and 4 in Figure XXVII. These distinctions 
 must be closely observed in dramatic representation, if one would 
 work aesthetically. 
 
 The higher the position of the person, the lower and the less 
 frequent will be the movements of the lower arms and hands; the 
 lower the position, the more uncultured the person, the higher 
 
 Fig. XXXIV. 
 
 and more frequent will be the movements. The man of culture, 
 in general conversation, never allows the gesture to pass beyond 
 the region of the shoulder. 
 
 The arm movements must not be jerky or inharmonious ; they 
 must proceed in gentle gradations one from the other. A piece 
 of music should not be abruptly broken off ; neither should an 
 arm movement end suddenly. To use a musical simile, it should 
 die away, except when horror or some sudden excitement ends it 
 abruptly. 
 
6S ESTHETIC PHYSICAL CULTURE. 
 
 The nobler a person, the loftier his position, the more rounded 
 and pleasing will be his movements ; the more ignoble the per- 
 son, the more unsymmetrical, angular and restless will they be. 
 The first rule in arm movements is this : As little movement as 
 possible. A French author says : ''Dignity has no arms." These 
 few words embody all rules. 
 
 If the hands are folded in front, one rule must be strictly ob- 
 served : The folded arms must move only in the space described 
 by the line e-/, Figure XXXIL, and exceptionally in the third 
 position a (see ¥ig. LXVIIL, ^, a). 
 
 Fig. XXXV. 
 
 It is wholly false and contrary to all plastic rules to raise the 
 clasped hands in front of the nose, with the elbows raised horizon- 
 tally, as in Figure XXXV. Aside from the fact that this is un- 
 plastic, it hides the expression of the face, which is the main 
 thing at such moments. The highest point to which the clasped 
 hands may be carried, is/ in Figure XXXII. 
 
 If the arms are extended imploringly, they must not pass be- 
 yond the point just designated. Care must be taken that the 
 elbows do not protrude sideways, but remain as in Figure XXXVI. 
 Only in moments of despair is it allowable to raise the clasped 
 hands above the head. In this case, when they reach the level 
 of the face, they are inverted, the palms upward without being 
 
THE PLASTIC. 
 
 69 
 
 separated, the fingers remaining clasped, and are thus Hfted above 
 the head. 
 
 To avoid parallels with the arms and hands (Fig. XXXVII.), 
 care should be taken, while in action, to have one arm and hand 
 in a different position from the other (Fig. XXXVIIL). 
 
 Fig. XXXVI. 
 
 When the hand is placed upon the breast, as in protestation, 
 the fingers should be in their natural position, neither far apart 
 nor pressed closely together. The hand should be placed upon 
 
 Fig. XXXVII. 
 
 the heart, and not, as constantly happens, upon the bosom. If 
 both hands are laid upon the chest, one should be in the region 
 of the heart, the other above it, as in Figure XXXIX., a. 
 
70 ESTHETIC PHYSICAL CULTURE. 
 
 We may be allowed to refer to many violations of this rule^ 
 as well as to some gaucheries^ which are altogether too fre- 
 quent. 
 
 Many young actors seem to be in doubt as to where their in- 
 ternal organs lie. When, for instance, Tamino sings, " I feel it,"" 
 placing his right hand passionately upon the left shoulder, and 
 extending the elbow horizontally, as in Figure XL., one would 
 infer that his heart lies there. Or when Pamina sings, " Ah, I 
 feel it ! It has vanished ! " and instead of simply placing one or 
 both hands on her heart, covers her bosom with her hands, and 
 
 Fig. XXXVIII. 
 
 in that region where the neck begins (Fig. XLL). What shall 
 we say of Pamina's feelings ? 
 
 There are so many of these faults that we need only mention 
 them to warn our readers against them : 
 
 Constant rubbing of the hands. 
 
 Planting the hands in the sides. 
 
 Thrusting them into the pockets. 
 
 Biting the nails, or gazing at them to relieve an embarrassed 
 pause. 
 
 Twirling the thumbs. 
 
 Plucking at the furniture or other objects around, or at people. 
 
THE PLASTIC. 
 
 71 
 
 Toying with or pulling at the button of the person to whom 
 one is speaking. 
 
 Trifling with one's watch chain. 
 
 Folding the hands across the back under the coat-tails, etc. 
 
 Fig. XXXIX. 
 
 Nothing but incessant practice of the port de bras, as given in 
 Figure XXVII., will enable one to execute the arm movements 
 easily and gracefully according to the rules laid down. When 
 
 Fig. XXXIX., a, 
 
 this has been done so thoroughly that the whole comes to the 
 pupil without effort, he may be certain that his movements will 
 
72 
 
 ESTHETIC PHYSICAL CULTURE. 
 
 be neither stiff, angular, clumsy nor awkward, unless he makes 
 them so designedly. At the slightest ungainly movement, he 
 must recall the fundamental rule, which must have become so 
 
 Fig. XL. 
 
 much a part of him that his movements will be involuntary — an 
 outcome of his very life. No actor should appear before the 
 public before becoming a perfect master of these arm movements. 
 
 Fig. XLI. 
 
 The public, which pays its entrance fee, should not be tortured 
 with bad gymnastic efforts dictated by no rule, and which, save 
 in a few exceptional cases, can produce no true aesthetic move- 
 ment. 
 
THE PLASTIC. 73 
 
 MOVEMENTS. 
 
 I. Walking in General. 
 
 We know the mechanism of walking, and shall now consider it 
 from an aesthetic standpoint. It is important to note that, in 
 walking, the body is not thrown to and fro, or back and forth, 
 at every step, but that the leg movements, beginning at the hips, 
 in no way affect the upper part of the body which only inclines 
 slightly forward. A certain equality must also be observed in 
 the length of the steps and the tempo; that is, short and long 
 steps must not alternate, as this makes the gait awkward or 
 affected. 
 
 Among the faults to be avoided are: 
 
 Walking with stiff legs. 
 
 Walking with a too rapid uplifting of the toes or heels. 
 
 Walking with a decidedly forward inclination of the upper 
 part of the body. 
 
 A tripping gait. 
 
 A dancing, skipping gait. 
 
 Walking as if upon india-rubber soles. 
 
 A stiff gait. 
 
 Walking with the arms held stiffly forward, or moved about too 
 much. 
 
 Too rapid a gait. 
 
 A creeping, or slipping gait. 
 
 Too heavy a step, etc. 
 
 We need not dwell upon these bad habits ; it suffices to name 
 them. 
 
 2. The Walking of Ladies with Trains. 
 Who has not often seen in private life, as well as on the stage, 
 ladies with long trains, who at every half-dozen steps seemed on 
 the point of falling by stepping on their own clothes ? We have 
 witnessed this with the firm conviction that it could not be rem- 
 edied, that the unfortunate ladies must yield to their fate. But 
 
74 yESTHETIC PHYSICAL CULTURE. 
 
 a little consideration of our rules in regard to walking will ex- 
 plain the reason of all this. These ladies do not walk right; 
 they set down the back of the heel first, and then the toes; their 
 gait lacks energy. This stepping upon the dress may be easily 
 avoided. 
 
 What an aspect would an Iphigenia present if, upon stepping 
 forward in her sacred grove, while holding up her veil artistically 
 with one hand, she should lift her robe in front with the other, 
 or step upon it repeatedly, in beginning her monologue: 
 
 ** Out here in your shadows, etc." 
 
 But how can such a defect be avoided? Simply by setting 
 down the lower part of the heel and the ball of the foot at the 
 same time, and making the forward step with decided energy, 
 with the toes turned outward, and yet held firmly downward, as 
 if the person would push her skirts before her at every step. If 
 the heel is first set upon the floor, or if the required energy is 
 wanting, treading upon the dress is unavoidable, and no trem- 
 bling or wishing that this may not happen, will prevent it. 
 
 A lady versed in ordinary walking, should practice walking in 
 trained robes, otherwise, whether she belong to the stage or to 
 the salon^ she will not produce the impression of noblesse. 
 
 The walk backward is executed in the manner already de- 
 scribed in Part First, but care must be taken that the toes are 
 turned outward as far as possible, and at every step the dress 
 must be lifted with the side of the foot. The feet must be set 
 back somewhat obliquely, and not in a direct line. 
 
 My lady pupils have found these rules of great practical benefit. Many who 
 have long been connected with the stage, assure me, that anxiety lest they might 
 step upon their dresses, has caused the failure of many a role. 
 
 This practice in long dresses must be followed until such ease 
 is acquired, that it would seem as if the ladies had never worn 
 any other. Most ladies now give the impression of appearing in 
 a trained robe for the first time. Whether upon the stage or in 
 
THE PLASTIC. ^^^^ift^^ 
 
 the sa/on, a lady should seem to be perfectly at home and in her 
 own sphere. 
 
 J. TAe Lifting of a Ladys Dress in Walking. 
 To lift the dress on both sides at once is awkward and un- 
 sightly. In lifting the skirt, it should be taken lightly between 
 the thumb and forefinger, and gathered into graceful folds with 
 the other fingers, the arm being drawn somewhat forward. This 
 is the most pleasing and decorous way of lifting the dress. The 
 train must be so held that the lining does not come outside, and 
 the underskirts are not visible. 
 
 4. Turning to the Right and Left in Walking. 
 In changing one's direction in walking, one foot must not be 
 set over the other, but the foot on the side to which one turns 
 must take the first step in the new direction. The turning is 
 performed on the ball of the stationary foot. 
 
 5. Turning to the Right or Left while Standing. 
 If in standing between two persons, one has to speak to each 
 alternatively, he turns upon the balls of both feet, lifting only the 
 heel from the floor, so that on the right hand side the right foot 
 and on the left hand side the left foot, stands in the fourth posi- 
 tion. All grace vanishes, if, in turning from right to left or vice 
 versa, several steps are taken. 
 
 6. Walking Sideward. 
 If one has to take several side steps, he extends the foot side- 
 way and without turning the body (second position), drawing the 
 other foot into the fifth position or beyond it, behind the foot 
 that is set sideway ; he then passes again into the second posi- 
 tion, drawing the other foot up into the first. It looks very awk- 
 ward to turn the whole body for two side steps ; as when they 
 are made, it must naturally turn again. Ladies with long trains 
 must carefully observe these precepts. 
 
*]6 vESTHETIC PHYSICAL CULTURE. 
 
 7. Stepping Sideward with Bowing. 
 
 If one has to make an obeisance while stepping to one side, he 
 must take two steps while turning the body, and make the bow. 
 The first step is not taken in the second position, but in the fourth, 
 the centre of gravity being carried over to this foot, while the other 
 foot passes into the fifth position behind the first, which is there- 
 upon placed in the second position to prepare the bow. If the 
 movement demands more than the two steps, then in this case, 
 also, the foot first moved is placed in the fourth position, but the 
 other foot, instead of being carried back into the fifth position, 
 is only brought into the first and, without being set down, makes 
 a backward step, followed by others as the occasion requires. 
 The last step (the one preparatory to bowing), is taken sideward 
 in the second position ; the other foot then passes into the first 
 position, and the bow is made. 
 
 With our modern ladies, the last step is not a sideward step, 
 but the foot which is drawn back last is placed in the third posi- 
 tion, and the bow immediately follows; /. ^., the knees are bent, 
 one foot drawn back and the other drawn after it. (See the 
 modern compliment, Part Fourth.) 
 
 8. Turning Round in Walking. 
 
 If one has to turn round in walking, the turning should be 
 done on the balls of the feet toward the side of the posterior foot, 
 the heels being slightly elevated. It is entirely wrong, in turn- 
 ing, to set the foremost foot over the other, and it is contrary to 
 every aesthetic law. 
 
 If the actor strides across the whole breadth of the stage, and 
 has to turn and retrace his steps, he must turn with his face to 
 the audience ; that is, the foot nearest the audience must, at the 
 moment, be the posterior one. To turn, as it were, on his own 
 axis, and with his back to the audience, is allowable only when 
 the situation demands it. 
 
 Although the barriers have fallen which, half a century ago, 
 
THE PLASTIC. JJ 
 
 forbade the dramatic actor to turn his back to the pubHc, and a 
 more free and natural movement is now allowable, the laws of 
 beauty have not vanished from the stage — must never vanish 
 from it. Many things may ^be permitted, but still be ungainly. 
 We shall refer to this subject again. 
 
 p. Turning Round 7tihile Standing. 
 
 Turning round while standing must be performed this way : 
 If the person stands in the fourth position, he should always turn 
 toward the side of the hindmost foot. While the foremost foot 
 turns upon the ball, the other foot remains upon the ball during 
 only half the revolution, the other half being made on the heel, 
 the toes being turned outward. If one stands with the heels in 
 contact (first position) before turning, one foot must take a slight 
 step backward, and the turning ensue toward this side the same 
 instant. 
 
 lo. Turning in the Case of Women. 
 
 If a lady wears a dress with a train, the following rules must 
 be strictly observed : If she stands in the fourth position with 
 the right foot forward, before turning, this foot must be brought 
 into the fourth position backward, and with such force that the 
 train is thrust backward somewhat, and out of the way. The 
 turning then takes place upon the ball of the foot just set back, 
 the other foot resting upon the heel. The right foot must not 
 now take the first step, since, in this case, she would be sure to 
 step upon her train ; but the left foot must take its first step in 
 a half-sideway, half-forward direction. 
 
 If the lady stands in the fourth position with the left foot for- 
 ward, this foot must pass backward and the turning take place 
 toward the left. If she stands in the first, second, or third posi- 
 tion, the step which one of the two feet takes backward must be 
 longer than usual, and more decided. The stepping forward, 
 after turning, takes place in the same way as already described. 
 
 A pulling of the train to the right or left in lifting it, indicates 
 
7^ ESTHETIC PHYSICAL CULTURE. 
 
 that one is unaccustomed to the wearing of such a dress. Those 
 ladies only who avoid this and similar faults, and move grace- 
 fully in such clothes, will make us believe that they are accus- 
 tomed to wear them. 
 
 II. Carriage of the Arms in Walking. 
 We constantly notice an awkwardness in the carriage of the 
 arms while walking, especially in young girls. It is that stiff, 
 falling of the arms forward, and their machine-like jerking up 
 and down at every step. The arms belong to the side of the 
 body ; and, if ladies are allowed to carry their arms somewhat 
 farther forward, this is only when in repose (Fig. X., a). In 
 walking, the arms, unless they have something to do, must swing 
 lightly and gracefully at the side. 
 
 12. The Opening of a Door. 
 
 If one has to open a door from the outside, if the knob is at 
 his left, he should grasp it with the right hand, holding his hat 
 in his left ; the right foot should stand upon the threshold, the 
 left being somewhat in the rear, and sustaining the centre of 
 gravity. As he opens the door, the right foot takes the first 
 short step into the room, the left foot the second. As the centre 
 of gravity has now fallen back upon the left foot, and the right 
 foot has resumed the first position, the right hand, which has, 
 until now, held the door-knob, should let go of it, leaving the 
 door behind. He now steps to the left into the second sideway- 
 forward position, and using this step as a preparation for compli- 
 ments, the bow follows with a' drawing forward of the right foot. 
 
 By taking a third step into the room, one passes beyond the 
 reach of the door and avoids that constantly recurring fatality of 
 having it thrust against one's back by the person entering imme- 
 diately after. 
 
 If, on entering, the door-knob is on the right, all these move- 
 ments should, of course, be reversed. 
 
THE PLASTIC. 79 
 
 If one, in departing, has to open a door from within, he should 
 step back to the door into the position in which he stood after 
 taking the second step upon his entrance. Now, bowing his 
 adieu, he should grasp the door-knob from behind with the hand 
 next to it, and step backward over the threshold, in the same 
 manner as upon his entrance, letting go the inner knob, and 
 closing the door with the outer one. 
 
 Women should enter in the same manner, only that one more 
 step is required. 
 
 Great care must be taken to learn these rules. A person is 
 characterized by his mere silent entrance into a room. 
 
 I J. The Entrance of a Servant. 
 If a servant enters the presence of his master or mistress, he 
 never pays any compliments ; when he withdraws, he does so 
 without bowing. (This rule is constantly violated upon the stage.) 
 The servant allows every one he ushers in to precede him, and 
 then follows. When* he announces a visitor, and receives per- 
 mission for him to enter, he does not open the door from within; 
 he leaves the room and opens it from without. If a servant 
 enters a strange room^ as soon as the door closes he takes a step 
 to one side in the second position, passing beyond range of the 
 door, and remaining there until he has done his errand, excepting 
 when he has something to deliver; in which case he advances to 
 within one step's distance of the person to whom he is sent. 
 
 14. The Setting of a Chair for Ones Self or for Others. 
 
 If one has to set a chair, he does not take it by one side, but, 
 stepping behind it, grasps the back with both hands, so that' the 
 thumbs shall come forward, the index fingers upon the side, and 
 the three other fingers behind its back. He then lifts it from 
 the floor, and passes to the appointed place (Fig. XLIL). 
 
 If a servant has to set a chair, he sets it down lightly and then 
 steps back. If one sets a chair for himself, he takes it to within 
 
8o 
 
 .ESTHETIC PHYSICAL CULTURE. 
 
 two Steps of the required place. (The rank of the person near 
 whom he sets it, determines the distance.) He then sets the 
 chair down lightly, first upon the fore feet, then with his eyes 
 
 Fig. XLII. 
 
 fixed upon the person near whom he is about to sit, he steps in 
 in front of the chair and sits down (Fig. XLIII.). 
 
 75. Seating One s Self icpon a Chair already Placed. 
 
 The general rule is as follows; its finer shades must be left to 
 each individual : 
 
 For Gentlemen. — If the chair is at the left, as in Figure XLIII., 
 one places himself beside it in the first position ; then takes a 
 step forward with the right foot, carrying the other foot into the 
 first and without stepping into the second position, to the front 
 of the chair. Then, with his face toward the person near whom 
 
XPE PLASTIC. . 8l 
 
 he is to seat himself, he lets himself easily down upon the middle 
 of the chair, without leaning against its back. 
 
 Fig. XLIII. 
 
 In sitting between two persons, one of whom is of higher rank 
 than the other, the face should be turned more toward the first ; 
 if between a gentleman and a lady, the lady has the preference. 
 
 To look around at the chair, before sitting down, is highly im- 
 proper. 
 
 The sitting down must not be hasty. The body must be as 
 erect as possible, without stiffness. 
 
 If one has a sword at his side, in sitting down he draws it for- 
 ward with the left hand; when seated, he lets it glide back to his 
 side. 
 
 It is not allowable to draw the coat-tails forward with both 
 6 
 
82 ESTHETIC PHYSICAL CULTURE. 
 
 hands before sitting down, unless in the slightest degree, and 
 without occasioning remark. It is better left undone, as is the 
 practice with all polished gentlemen. 
 
 For Ladies. — Ladies who, in the costume of the "rococo" 
 age, cannot feel the chair on account of their hooped skirts, find 
 it very difficult to seat themselves well. There is constant dan- 
 ger of shoving the chair back with their skirts. They must, 
 therefore, exactly measure the distance before sitting down, and 
 take their backward steps accordingly. Before seating them- 
 selves they should draw the dress slightly forward with the 
 hand farthest from the person near whom they are to be seated, 
 letting it fall again at the side. The other hand should be held 
 in readiness for the possibility of the chair being shoved back- 
 ward. In this case they must grasp the back of the chair from 
 behind. If a lady seats herself upon a sofa, or anything firm, 
 she can use both hands in drawing her skirts forward slightly 
 from the sides, letting them fall back as soon as she is seated. 
 
 It is decidedly '^ bad form " to draw the skirts forward with each 
 hand alternately, prior to sitting down. It is just as inadmis- 
 sible in rising to grasp them from behind, and to seek, through 
 all sorts of movements, to restore them to order. If a lady has 
 seated herself in the way prescribed, upon rising she can let her 
 dress fall quietly back into its natural position without fear of 
 its disarrangement. 
 
 i6. Kneeling. 
 
 In order to kneel and rise properly one should often practice 
 the exercises given for strengthening the imiscles. (Part Second.) 
 
 Kneeling takes place in this way : One steps, as circumstances 
 require, more or less near the person before whom he is to kneel, 
 bending the knee of one leg while he allows the other to glide 
 back slowly or quickly, with the foot turned outward, the great 
 toe only passing over the floor. The line of gravity falls upon 
 the foremost leg, only a slight fraction coming upon the toes of 
 the other leg, which is shoved backward. Then one sinks upon 
 
THE PLASTIC. 83 
 
 the knee of the backward leg, which (upon the stage) should be 
 turned toward the audience. The lower part of the forward leg 
 should neither form an acute angle with the upper which hap- 
 pens if the knee is pressed too far forward; nor an obtuse angle, 
 which happens if the foot is set too far forward; it should form 
 a right angle. The foot of the kneeling leg should not have its 
 toes turned downward and inward, but outward and backward as 
 in Figure LXXVIII. The upper part of the body should be 
 held as erect as possible, but not stiff. 
 
 Rising should take place with the aid of both legs, which should 
 elevate the body in such a way that the line of gravity may fall 
 in the middle of the base described by the two feet. 
 
 If the body is so far erect that the foremost foot may sustain 
 the centre of gravity alone, the hindmost foot is drawn slowly 
 forward; but not vice versa. 
 
 If one rises quickly with the upper body bent forward, the per- 
 son standing in front will almost inevitably be inconvenienced. 
 
 If one has to kneel before an exalted personage, from whom 
 he has received some favor, or whose hand he wishes to kiss, he 
 should at first approach within the distance of one step, and 
 then fall on his knees in the manner indicated. 
 
 To kneel two or three steps away from the person, is awkward 
 and contrary to etiquette. 
 
 Kneeling on both legs is allowable in the following cases: 
 
 (a) In the prayers of Roman Catholics, where this is required. 
 
 (h) In moments of exalted passion. 
 
 (c) In extreme old age. 
 
 (d) By slaves, as to denote the utmost degree of humiliation. 
 
 (e) In country people. 
 
 (/) In representing comic situations, mostly by servants and 
 chambermaids. 
 
 If one would rise, from his kneeling posture (on both knees), 
 the foot turned from the public first, assumes the position it had 
 when kneeling upon one knee, in which case the rising in a de- 
 
84 ESTHETIC PHYSICAL CULTURE. 
 
 corous way comes as a matter of course; while, in opposite cases, 
 the effect is unpleasant. 
 
 In falling upon both knees, the upper part of the body should 
 not bend forward, as one might easily fall over, but it should, as 
 far as possible, sink directly into the knee. 
 
 ij. Lifting Something from the Floor. 
 
 If something is to be lifted from the floor or laid down, this 
 should not happen in a sort of cowering posture, with the upper 
 body bent forward and downward (unless this is demanded in 
 personation), but as in kneeling by bending the leg turned away 
 from the public, and by shoving back the other^ leg which is 
 toward the public, and upon the knee of which one falls. 
 
 The rising takes place as directed under the head of ^' Kneel- 
 ing." 
 
 In a rapid execution of the aforesaid movement, the leg that 
 is shoved backward does not come at all into a full kneeling pos- 
 ture; but while it is shoved back, the forward leg bends inward 
 quickly, almost wholly bearing the weight of the body; and again 
 stretches itself with the elasticity of a spring, while the backward 
 leg is just as quickly drawn forward. 
 
 The knee-exercises given in " Physical Gymnastics," now come 
 into play, it being almost impossible to execute the movements 
 here given without this practice. 
 
 i8. Falling upon the Stage, 
 
 The finer shades of such falling are as various as the motives 
 inciting the actor to fall. An attempt to describe them would 
 be absurd, but a fundamental rule derived from long experience 
 as an actor, will be in place here. 
 
 Let the motive for falling be what it may, the actor should 
 always begin to fall from the feet, in accordance with the funda- 
 mental rule, that^ is, he should always first set the muscles that 
 rule the foot and knee-joints out of action, thus sinking into his 
 knees (which for the most part happens sideward), and then let 
 
THE PLASTIC. 85 
 
 the upper part of the body fall. In falling forward or backward, 
 this main rule must also be observed. In falling forward, it must 
 be noted that both arms, stretched forward, reach the floor sooner 
 than the face, serving as a sort of protection; in falling sideward, 
 it will be one arm. 
 
 i^. The Holding of the Hat. 
 
 In our time which is distinguished by freedom of manners and 
 indifference to the rules of etiquette, there are no fixed rules as to 
 how the gentleman who remains for a long time uncovered, must 
 hold or carry his hat. But in any event, the following may be 
 stated as a rule: Let a gentleman hold his hat as he will, he al- 
 ways exactly observes one rule: he does not shift it from one hand 
 to the other; this betrays the man without tournure in private life, 
 and upon the stage the uncultured artist. The simplest and most 
 decorous way of holding the hat is this: One takes with the 
 thumb, the index and middle fingers, that part of the brim which 
 covers the forehead, and in this manner carries the hat to one side, 
 so that the inner surface is turned toward the thigh, the arm 
 hanging in its natural position at the side (Fig. XXIX., a). It is 
 awkward to hold the hat before one so that those standing oppo- 
 site can see into it. Neither should the hat be taken by the in- 
 side, as the cleanest hat is liable to soil the gloves or hands. 
 
 In saluting a person you meet, for instance on the right, take 
 the hat from the head with the left hand, and vice versa. While 
 you stand before this person with uncovered head, the hand hold- 
 ing the hat should hang at the side, its inner rim turned toward 
 the dress. 
 
 Actors should bear in mind that in the " rococo " time (age of 
 Louis XIV., XV., and XVL in France) if one took the hat into 
 the salon^ he carried it under -the left arm in the manner above 
 described, but never with the hand hanging down at the side. If 
 he had a chapeau claque^ he also held it with part of the brim 
 hanging downward before him, and with part of it between the 
 
86 ESTHETIC PHYSICAL CULTURE. 
 
 thumb and finger of each hand. Servants only carried the hat 
 in the one hand hanging at the side. 
 
 20. The Carrying of the Fan. 
 
 The use of the fan is very ancient, and comes from Asia and 
 Africa, where palm-leaves were used at first, and peacock and 
 other feathers at a later day. Its purpose was to protect the face 
 from the sun or to move the air. 
 
 In the Orient, the larger fans are borne by slaves before or 
 near those who use them; each person holding a small fan him- 
 self. A Chinese host, when the heat is great, after the tea has 
 been drunk, takes a fan and holding it in both hands, says: "I 
 invite you to use the fan." Each guest then takes his fan. It 
 would be impolite for the host to have none, for then no guest 
 would use his fan. In Greece and Rome the host made the air 
 cool by using the fan himself or having his slaves use it. Very 
 costly fans were carried in the middle ages. Their use was so 
 general, that the fan became an indispensable necessity to every 
 well-bred young lady. K genuine fan-language arose and reached 
 its height in the last century. The French Revolution abolished 
 the fan, and only in recent times has it become the necessary ad- 
 junct of the fine lady. 
 
 Although the artistic handling of the fan, which characterized 
 ladies of the past century, is not demanded of those of the pres- 
 ent day, still we may at least demand that the lady who carries 
 a fan, shall not swing it around uselessly in the air, or use it in an 
 awkward manner. 
 
 As in gesture, repose is always made the main principle ; this 
 appjies also to the use of the fan. It is to be used either for 
 moving the air, or to be held quietly in the hand as a mere orna- 
 ment. But the manner of holding it must always indicate ease 
 and a knowledge of polite usage, else one does better not to 
 carry it at all. 
 
 We find in Mereau's little work the simplest and most decorous 
 manner of carrying the fan : ^^ The fan must be so held between 
 
THE PLASTIC. 8/ 
 
 the thumb and index finger of the right hand, that its upper edge 
 falls downward. Some ladies hold their fans straight before 
 them, and in such a way that the upper edge almost touches the 
 chin. Others hold the fan under the left arrp, or horizontally 
 before them. These various methods are all alike faulty and in 
 direct contradiction to that genuine fine breeding we expect in 
 a lady of culture." 
 
 If a lady lets the upper right arm fall perpendicularly to the 
 hip, the lower arm being somewhat bent, the position of the fan- 
 holding arm will be the true one for an attitude of repose (Fig. 
 XXIX.). Every movement of the fan out of this attitude should 
 be made with the wrist, and not by the aid of the whole lower 
 arm (much less of the upper arm). Even if the movement be- 
 comes greater, and the whole arm takes part in it, the main stress 
 must lie in the wrist. 
 
 Here the necessity of wrist practice, as given in Part Second, 
 becomes evident. Without it every movement of the fan will be 
 a forced movement. 
 
 21. Carrying a Cane. 
 
 If one carries a cane on account of lameness or general weak- 
 ness, no directions are needed. He will carry it as the nature of 
 the malady demands. If fashion or one's own pleasure is the 
 motive, it is quite otherwise. In such a case one should avoid 
 shifting the cane from one hand to the other, placing it across the 
 back or over the shoulders, flourishing it in the air, etc. If it is 
 a light walking cane, and is carried for pleasure, a playful move- 
 ment is admissible ; but with a stout cane all useless movement 
 should be avoided, and the carrying of the cane given an impres- 
 sion of the utmost ease. 
 
 The actor, in carrying a cane, should be still more circumspect. 
 Above all, he should avoid carrying it outside the theatre. Even 
 Goethe lays down this law. All too easily does he become ac- 
 customed to it, and its lack will cause him great annoyance on 
 the stage. If neglected, the actor will contract bad habits which 
 
88 ESTHETIC PHYSICAL CULTURE. 
 
 will annoy him upon the stage. How often do we see the actor 
 with the hand that usually carries the cane, restless and ill at ease, 
 seeking to make movements, until he remembers that he is upon 
 the stage. 
 
 The actor should form no habits which he cannot renounce 
 upon the stage. Carrying a cane is allowed him only when the 
 character or situation demands or allows it. But he should al- 
 ways proceed from the fundamental rule that the bearing of the 
 cane is to have its significance to the spectators. He must use 
 all outward appliances sparingly, such as canes, eye-glasses, etc.; 
 otherwise he weakens their significance. In their use he should 
 discriminate exactly whether he represents a personality which 
 actually requires them, or one which only coquets with them. 
 In the former case, he brings the glass directly before his eye 
 without marked preparation ; in the latter with more or less 
 marked movement and affectation. 
 
 In the seventeenth and eighteenth centuries the cane was an 
 adjunct of full dress, and played a distinguished rdle. It was a 
 huge Spanish reed with a gold head and tassel ; was grasped 
 under the head and borne usually in a dignified manner. 
 
 22. The Use of the Handkerchief. 
 While, in every-day life, one only takes his handkerchief in his 
 hand when h'e really needs it, we see that upon the stage this 
 often happens unnecessarily. With ladies this is excusable, partly 
 because it is a usual custom to carry the handkerchief in the 
 hand, and partly because the handkerchief (often embroidered 
 with lace) is considered a requisite of the toilet. But what shall 
 we say of a gentleman who is always seen upon the stage with 
 handkerchief in hand, passing it from one hand to the other, from 
 breast-pocket to coat and other pockets, taking it out the next 
 moment, to pass it over mouth or beard — one who even gesticu- 
 lates in presence of ladies with handkerchief in hand ? This in- 
 decorum has so passed into a habit with many actors that they 
 cannot play certain roles without the handkerchief. 
 
THE PLASTIC. 89 
 
 It is only a fop or a fool, young or old, who takes out his hand- 
 kerchief every moment to use it as just described. The actor of 
 fine culture does ''this only when the author's purpose demands it 
 (for unforeseen surprises, to represent bleeding at the nose, to dry 
 the forehead, etc.); but never to trifle with it, and that in the 
 presence of ladies. 
 
 Neither is it allowable for the actor to take out the handker- 
 chief to dry his tears. In the first place, a man does not weep ; 
 in the second place, if the stage business actually demands that 
 a few tears be shed, he does not dry them with a handkerchief. 
 Here propriety allows women what it denies to men. 
 
 The gradations of the real purpose which renders a handker- 
 chief necessary, are allowed only to the comic actor or soubrette, 
 and that only in rare cases. 
 
 2j. The Hand-kiss^ 
 as a token of respect or reverence, demands several degrees in 
 its execution, which must be determined by the rank of the per- 
 son who kisses, as well as by that of the one whose hand is kissed. 
 This is a specialty in acting. We consider the hand-kiss from 
 the aesthetic-plastic standpoint, and hereby present it in two 
 forms : 
 
 (a) The Hand-kiss of Thanks^ of Entreaty for Forgiveness^ of 
 Gallantry^ of Lovers. — Here the one who kisses, takes the hand of 
 the person kissed, lifts it slightly from the normal position, bows 
 down to it, and presses the kiss inaudibly upon it. It is exceed- 
 ingly ill-bred to draw the hand forward without bending down to 
 it, and then press the kiss upon it; or to let the kiss be audible. 
 
 This always indicates the man devoid of fine tact. If the 
 lady's hand is covered with a glove, the hand is not kissed, but 
 the wrist. In case the lady stands at the right, the right hand 
 of the gentleman grasps her left hand ; if she stands at the left, 
 his left grasps her right hand. In this sort of a kiss the normal 
 position is usually retained, and yet with a slight variation if love, 
 reverence or gratitude dictate the kiss. The lover, in his pas- 
 
go .ESTHETIC PHYSICAL CULTURE. 
 
 sion, will raise the hand of the beloved somewhat higher, and 
 only bend slightly himself, while, in the first case, the hand is 
 raised only a little, and a full inclination toward" it takes place. 
 
 (d) In the hand-kiss of etiquette, especially that of a lower 
 person to a higher, up to a crowned head, the one who kisses 
 should in no case grasp the hand and raise it. It will be held 
 out to him, and he slips his hand (the index finger uppermost) 
 under the hand he is to kiss so that his own forms support, and^ 
 without drawing the proffered hand out of its position in the 
 slightest degree, he imprints the kiss upon it. Slight gradations 
 enter here, as everywhere, on account of higher or lower rank. 
 To designate these would be absurd, even impossible. We have 
 only given the fundamental rules. 
 
 24. Funda7nental Rules for Position if Several Persons are on the 
 
 Stage. 
 If several persons on the stage engage in conversation, the 
 aesthetic plastic demands that this happen in accordance with one 
 rule, which is simply as follows: If two persons standing near 
 each other have to converse a long time, they must take especial 
 care to avoid the profile attitude, through which the sound of 
 their words in the coulisses is wholly lost. The speaker should 
 stand somewhat back of the listener, so that at least three-fourths 
 of his face and figure are toward the audience; while the listener, 
 without incurring the reproach of stiffness or unnaturalness, may 
 stand opposite the public — if only the intention of listening is ex- 
 pressed by head and gesture. Both actors would do well to fol- 
 low the above rule, so that the speaker, as soon as he ends, may 
 lightly and unremarked, take half a step before the listener, who 
 recedes half a step. Naturally, this can happen only in more 
 weighty discourse; in brief, disjointed conversation, both stand 
 with three-fourths profile to the public, without stepping forward 
 or backward. It is exceedingly unpleasant to have both actors, 
 when standing near each other, turn their faces directly to the 
 audience reminding one of puppets which can move only upon 
 
5 
 
 "'"^N 
 
 
 /^> 
 
 Fig, 
 
 . LXV. 
 
 THE PLASTIC. 9 1 
 
 one line. Such situations may happen, yet they should be but 
 momentary. 
 
 If three or more persons stand near one another, this must 
 never be in a direct line (drawn from one side of the stage to the 
 other), but always in a semi-circle. (Figs. XLIV. and XLV.) If 
 
 d b 
 
 c:^ 
 
 Fig. LXIV. 
 
 six, eight or more persons are upon the stage, and all take part 
 in one conversation, they may, to avoid the monotony of one large 
 semi-circle, form single groups of three or four in small half-cir- 
 cles; but all these must lie within the periphery of the large half- 
 circle. (Fig. XLVI.) 
 
 A-o ^o .^^ 
 
 r ^ 
 
 £1^ 
 
 Fig. XLVI. 
 
 This figure shows fifteen persons, forming five single groups; 
 and yet the whole fifteen, in this position, represent but one 
 group. What an aspect would they present to the aesthetic eye, 
 did they stand in a straight line, as in Figure XLVIL, or in one 
 
 ooocooo oooo O ooo 
 
 Fig. XLVIL 
 
92 ESTHETIC PHYSICAL CULTURE. 
 
 convex to the public, as in the lines which appear in Figure 
 XLVIII! Would they not give an impression of the utmost 
 awkwardness and stiffness ? The semi-circle, on the other hand, 
 is always agreeable to the aesthetic eye. 
 
 o 
 
 o 
 
 
 
 o 
 
 ^ o , 
 
 o o o o ^ 
 
 o 
 
 o 
 
 o 
 o 
 
 
 Fig. 
 
 XLVIII. 
 
 
 2j. Position of Subordinates. 
 
 The German manner of having subordinates always stand in 
 the rear (thus obliging the higher personages to turn around), has 
 already been deprecated by Ludwig Schroder in his " Precepts 
 of the Actor's Art." 
 
 Let this hero of the German stage speak for himself: "If a 
 servant announces some one, he certainly remains at the door, re- 
 ceives his orders and makes his exit. This is grounded in our 
 customs. But for him who is allowed entrance, whoever he may 
 be, there is upon the stage no front or rear, or in other words, 
 he is subordinate to him who stands nearer the footlights. By 
 this position he facilitates the speech and play of the leading 
 character." 
 
CHAPTER II. 
 
 THE MIMIC ART. 
 
 * * All our movements are merely automatic, and express nothing if the face 
 meantime remains dumb, and does not lend them soul and life." — 
 Noverre's Letters. 
 
 INTRODUCTION. 
 
 Mimic art is either the talent for imitating certain individuals 
 by modifications of one's own body, or the art of conforming out- 
 ward appearances to ideas which represent inward emotions. It 
 is -divided (i) into face-movements — play of the features, and (2) 
 into movements of the whole body or certain parts of it — the 
 play of gesture. 
 
 True to the purpose of this book, we give only main principles. 
 Those who would gain a thorough knowledge of these subjects, 
 may study Engel's excellent work, " Ideas upon Acting; " Dr. 
 Piderit's "Principles of Mimic Art and Physiognomy," and Seck- 
 endorf's " Lectures on Mimic Art and Declamation." 
 
 PLAY OF FEATURES. 
 
 I. General Remarks. 
 The human organism has the capability of appropriating out- 
 ward impressions, and expressing their effect in the lineaments of 
 the face. Men are distinguished from one another by the greater 
 or less measure of this capability. Hence the features of the face 
 are the hand-writing of the soul. The more lively a man's fancy 
 and the more cultured his mind, the easier will be to him the re- 
 ception of outward impressions, and the mirroring them in the 
 features of the face. The actor, who does not actually receive 
 the impulse for the expression to be reproduced, from the out- 
 
94 ESTHETIC PHYSICAL CULTURE. 
 
 side, must possess the liveliest imagination in order to reproduce 
 its effect in his facial lineaments. Hence it necessarily follows that 
 those only can be actors who possess this peculiarity in a high 
 degree. To seek to acquire it by the aid of fixed rules is a vain 
 attempt. 
 
 A lively fancy allows all impressions, voluntary and involuntary, 
 to enter into the features ; when such a fancy is lacking, all de- 
 scription of the muscles of the face and their manner of working 
 is useless, and must result only in most complete caricature. 
 
 This play of features is produced by the muscles of the face; 
 hence a round, full face with its muscles all enveloped in fat, is 
 little calculated to mirror the emotions of the soul. Only the 
 eyes are left it, and important as these are in expression they 
 will not suffice alone. 
 
 The actor's first task is to acquire ability to keep the facial 
 muscles in perfect repose. Every sitting for a photographer, 
 teaches us how difficult this is. The proper method is to practice 
 before a mirror, first single muscles, seeking perfect repose 
 for each, or to move each group of muscles singly (as those of 
 the mouth), taking care that no grimace appears. When a suffi- 
 cient degree of mobility has been brought into the muscles of the 
 face, one endeavors to express all passions in his mien, having 
 first gained a perfect mental grasp of each. If he would express 
 sorrow, joy, etc., he holds the features fixed for a moment before 
 gazing into the mirror, to see whether the muscles of the face 
 obey, or whether they must be aided in some way. The features 
 must always be noble, not losing this character even in the high- 
 est passion. Eyes and mouth are most important in this play of 
 the features. 
 
 2. The Eyes. 
 ^' The eye is the mirror of the soul." The eye shows us the 
 manner in which the impression on the soul is gradually de- 
 veloped. Its importance is self-evident. The man with a cold, 
 staring or indifferent eye, had best renounce the idea of going 
 
THE MIMIC ART. 95 
 
 upon the stage ; it will not be possible for him to awaken sympa- 
 thy or convince his audience that he feels the truth of what he 
 says. 
 
 If an actor wears spectacles, and takes them off, his eyes will 
 wander around without expression ; it will be difficult, almost impos- 
 sible, for him to give them expression. If one has naturally wide- 
 open eyes he must be circumspect in the portrayal of simple emo- 
 tions lest an unpleasant sharpness or a rigid stare enter his glance, 
 when he opens his eyes still wider. The manner of entirely clos- 
 ing the eyes, of uttering whole sentences, now and then suddenly 
 opening the eyes, is quite unpardonable. There is a play of the 
 features where a lowering of the lids so that the eyes seem 
 closed, is effective ; but this must not become stereotyped. In 
 this case the spectator does not see several individuals personi- 
 fied ; he sees only the individuality of the actor. Too great mo- 
 bility of the eyebrows must also be guarded against, and likewise 
 that constant contraction of the forehead which may easily be- 
 come a grimace. . It is not allowable to let the eyes sweep around 
 the audience, or rest here and there upon the boxes. In this way 
 all semblance of truth is lost. 
 
 3. The Mouth. 
 
 Next to the eyes, the mouth has the greatest significance in 
 the play of the features. When all the muscles of the mouth are 
 in normal tension, the mouth line is waving and beautiful. (Fig. 
 XLIX.) In this position all undue tension of the muscles is to 
 be avoided; in speaking and singing this must also be guarded 
 against,, else the mouth may assume a forced or even ignoble ex- 
 pression. Many actors have the mistaken idea that in speaking, 
 the mouth must make motions similar to those of the tongue. 
 As a result of this, we see carp-like movements of the lips 
 become chronic, while their sole task should be to form the la- 
 bials by mere opening and closing, the vowels (0 and 06) by a 
 slight rounding. 
 
96 
 
 ESTHETIC PHYSICAL CULTURE. 
 
 In the portrayal of scorn, malignity, contempt, weeping, etc., 
 in which the corners of the mouth especially are active, care must 
 be taken not to draw down the mouth too much or have the ten- 
 sion too great. In conclusion, we must warn against one con- 
 stantly recurring fault, viz.: Opening the mouth involuntarily in 
 effective situations, and letting it remain open. This might be 
 allowable only in comic acting. 
 
 In the portrayal of difficulty of hearing or of listening, it is 
 proper to open the mouth, for in both instances the reverberation 
 is sought not only through the ear but also through the mouth, 
 which, by means of the eustachian tube, stands in connection with 
 the auditory passage. 
 
 Fig. XLIX. 
 
 MUSCLES OF THE FACE. 
 
 rt, rt, occipito-frontalis ; b^b^ orbicularis palpebrarum; c, orbicularis oris; d^d^ levator 
 labii superioris alaeque nasi ; ^, e^ levator labii superioris proprius ; y,/, zygomaticus major ; 
 k. k^ buccinator ; h^ h^ triangularis menti ; g^ g^ quadratis menti ; z, /, masseter. 
 
 The facial muscles rest decidedly under the influence of con- 
 
//^" 0^ "THE >r^ 
 THE MIMIC ART. V ^/ 97 .f^V 
 
 scious volition wliich allows, to a high degree, the mastery of the 
 involuntary play of the muscles ; it is the prerogative of a good 
 education to use this mastery, and at the right times, not by sup- 
 pressing, in some sort, every involuntary play of the features, but 
 to prevent the animal in man from becoming the ruling expres- 
 sion. To learn this mastery will be imperative, if the early edu- 
 cation and manner of life have allowed a distorted mien to 
 become habitual. 
 
 For the actor who must give the various personalities he rep- 
 resents another form than that of his own face, and who must do 
 this not merely by mental activity, but by the use of various 
 paints, it is indispensably necessary to know how nature in these 
 various characters fashions the form of the face. We quote 
 therefore some principles from Piderit's " Physiognomy." 
 
 4. Main Elements of Facial Expression. 
 
 The strong-willed, decided man is recognized by his firm glance, 
 while an unsteady glance is peculiar to those who lack confidence 
 in themselves or others, t6 hunted and guilty men. This glance 
 may, however, result from illness. 
 
 If one grasps a representation, the muscles of his eyes will be 
 tense as if grasping some object; if he contrasts different repre- 
 sentations, his eyes will be moved as he turns his glance from one 
 to the other, etc. 
 
 Intellectual activity may be recognized by a quick, observant 
 glance; while intellectual sluggishness and indifference are be- 
 trayed by the empty glance; that is, by a lax, slow movement of 
 the muscles of the eye-ball. The slow and at the same time firm 
 glance, indicates calm deliberation; the quick, and at the same 
 time restless glance, indicates fugitive thought, such as want of 
 consideration, volatility. 
 
 A considerable part of the upper edge of the pupil concealed 
 by the lid, denotes intellectual indolence, while raised lids and 
 unveiled pupils are a sign of intellectual activity. 
 
 7 
 
98 ^ESTHETIC PHYSICAL CULTURE. 
 
 Practical, energetic men are wont to have a near glance; spec- 
 ulators, philosophers, dreamy men let their glance sweep far away. 
 Very enthusiastic men are known by their peculiar and somewhat 
 upturned glance. 
 
 Men, who in walking or sitting, bend the head forward, must, 
 in order to gaze before them, draw the pupil high under the lid. 
 This veiled glance is found in people who observe closely, and 
 would yet appear unsympathetic. It is peculiar to distrustful 
 men. If the veiled glance is at the same time firm, it is called 
 lowering (Fig. L.). 
 
 ^ Fig. L. 
 
 The tension of the muscles of the forehead is indicated by hori- 
 zontal folds and uplifted brows. These muscles become tense 
 on the one hand, when the eyes are opened as widely and quickly 
 as possible, and on the other hand, when they are held open as 
 steadily as possible. 
 
 The mimic expression, if constantly repeated, becomes part of 
 the physiognomy, and is recognized by horizontal lines in the 
 forehead. If the physiognomical trait is strongly marked, the 
 brows remain drawn upward. 
 
 This facial trait of the horizontal line is found: 
 
 (a) In good-natured men. 
 
 (l?) In curious men. 
 
THE MIMIC ART. 99 
 
 (c) In men who, by inclination and habit, retain firmly and en- 
 duringly the ideas awakened in their souls. I designate these 
 inclinations by the word contemplativeness. 
 
 Horizontal lines on the forehead, a vacant gaze, and sunken 
 eyelids, denote intellectual indolence, united with good humor or 
 curiosity, or bent for reflection. 
 
 The eyebrow muscles draw backward the upper part of the 
 muscle that closes the eyes. The tension of this muscle lays the 
 forehead in perpendicular folds; in like manner the eyebrows be- 
 come drawn somewhat downward, with their inner ends approach- 
 ing each other. 
 
 We find perpendicular lines: 
 
 (a) In people who have had much physical suffering. 
 
 (p) In people who have suffered mentally. 
 
 (c) In people who have been visited by misfortune. 
 
 (^) In sensitive, dissatisfied, fretful people. 
 
 {e) In shortsighted people. 
 
 Where the mouth stands more or less open and the under lip 
 retreats more or less, we presuppose an obtuse, muddled intellect 
 (Fig. LI.). 
 
 Fig. LI. 
 Lips more or less knit together denote obstinacy, that is, a 
 mind shut up in its own ideas (Fig. LII.). 
 
100 ESTHETIC PHYSICAL CULTURE. 
 
 Fig. LII. 
 
 We therefore find this trait: 
 (a) In stubborn people. 
 (^) In reliable people. 
 
 (c) In careful people. 
 
 (d) In reticent people. 
 
 (e) In self-seeking, avaricious people. 
 
 Lips lying loosely together indicate the contrary; hence suscep- 
 tibility and frankness. 
 
 If one tries some gustatory object* (for instance wine) with the 
 organs of taste, he protrudes both lips at the same time, pressing 
 them together and giving the mouth a snout-like form. In this 
 way the cavity of the mouth is widened, while the substance 
 tasted is held fast. This form of the mouth (Fig. LIII.) is there- 
 fore found : 
 
 (a) In gourmands. 
 
 (d) In critical persons. 
 
 If the organ of taste is unpleasantly excited, the arch of the 
 palate is removed as far as possible from the surface of the 
 tongue, the upper lip as far as possible from the under, while the 
 nostrils are raised (Fig. LIV.). We observe the same expression 
 
THE MIMIC ART. 
 
 lOI 
 
 Fig. LIII. 
 
 as the sign of an imaginary excitement of the organs of taste; 
 also in a sudden, intense, disagreeable excitement of other organs 
 of sense, or in the excitement of unpleasant ideas. The mimic 
 expression of bitterness will therefore be called forth by inciting 
 ideas whose unpleasant nature is significantly described as ^' bit- 
 ter." 
 
 Fig. LIV. 
 
 If one is delighted with a pleasant idea, while at the same time 
 agitated by an unpleasant one, the mouth will give slight expres- 
 
102 .ESTHETIC PHYSICAL CULTURE. 
 
 sion to the bitterness, while the eyes glance upward (Fig. LV.). 
 
 Fig. LV. 
 
 A compressed mouth with a bitter expression indicates a stub- 
 born, misanthropic person (Fig. LVL). 
 
 Fig. LVI. 
 
 The physical impress of scorn is a deep line under the angle 
 of the lower lips. In this case the chin appears flat, because its 
 flesh is tightly drawn, while the under lip is pressed upward. 
 
 The eyelids fall as in drowsiness, while a certain degree of 
 negligent attention is discernible on account of the tension of 
 
THE MIMIC ART. IO3 
 
 the muscles of the forehead, whereby the sinking Hds are held in 
 place, horizontal lines appearing on the forehead. 
 
 GENERAL PHYSIOGNOMICAL REMARKS. 
 
 I. The Cheeks. 
 Fleshy cheeks usually indicate a sensitive temperament and 
 susceptibility. If lean and narrow they denote dry humor and a 
 lack of sensuality. Sorrow makes them hollow ; coarseness and 
 stupidity imprint them with folds and furrows. Depressions, 
 more or less angular in form, are an infallible sign of envy and 
 jealousy. A line passing from the nostril to the corner of the 
 mouth is very indicative of character ; if it is a curve without 
 any variation or wave line, it is an infallible sign of stupidity. It 
 is the same when its end leads, without interruption, along the 
 edge of the upper lip, or lies not far removed from it. 
 
 2. The Lips. 
 Fleshy lips indicate sensuality, gourmandism, indolence. Sharp- 
 ly cut lips and those with hard outlines denote unrest and avarice. 
 An elevated upper lip indicates self-importance and coarseness. 
 A thick, protruding lower lip is the sign of a foolishly boastful 
 and withal, intellectually impoverished man. A sullen, lipless 
 mouth, turning upward at the sides, denotes affectation and vanity. 
 
 J. The Chill. 
 A protruding chin always denotes something positive ; a re- 
 treating chin, something negative. A round chin with a dimple, 
 denotes goodness ; a small chin indicates timidity, bashfulness ; 
 a smooth chin, coldness and dryness of temperament ; an angu- 
 lar chin denotes penetration, cleverness and firmness ; a pointed 
 chin is a sign of strategy and cunning ; a long, broad, fat chin in- 
 dicates a hard, proud, obstinate, violent character. A chin indi- 
 cating cleverness must be turned back or cleft in the middle. 
 All that is said here must not serve the dramatic artist as a model 
 whereby alone he is forced to act. It is left for his imagination 
 and talent everywhere to supply the necessary modifications. 
 
CHAPTER III. 
 
 GESTURE. 
 
 " Gesture arises from the passion it is to represent. It is an arrow winged 
 by the soul ; it must have speedy effect and reach the goal to 
 which the cord of sensation hurries it on. After we are instructed 
 in the principles of our art, let us follow the impulses of our souls. 
 If our sensations are keen, they cannot mislead us." — Noverre's 
 Letters. 
 
 When fully grounded in the plastic of the human limbs, gesture 
 comes almost without effort ; it arises always from inward emo- 
 tion, and one incapable of such emotion, may study whole 
 volumes upon gesture without deriving any special benefit from 
 them. 
 
 THE SINGLE LIMBS IN RELATION TO GESTURE. 
 
 Of all members of the body, the arms and hands are most active 
 in gesture. Before laying down fundamental rules, we will briefly 
 consider the head as a whole, and for this purpose, borrow some- 
 thing from "The Symbolical in the Human Form," by Carus. 
 
 7. TJie Head. 
 
 In bending the head forward, it is the forehead, the symbol of 
 intelligence, which sinks or falls, and thus necessarily gives re- 
 cognition of a truth outwardly presented, such as assent ; further, 
 assent to another's opinion, also submission to another's under- 
 standing, and finally, weariness, — a yielding up of conscious in- 
 tellectual mastery, a transition into sleep. At the same time 
 it happens that the intellectual region, that is the region of the 
 brain, inclines forward, — a decided symbol of mental sympathy 
 and assent. 
 
 The opposite movement, the uplifting of the forehead, must 
 
GESTURE. 105 
 
 indicate the reverse. Every such uplifting elevates the seat of 
 intelligence above all outside of it, and all sympathy of feeling is 
 expressed by a backward inclination of the head. Hence it hap- 
 pens that a medium mood of the soul, removed alike from assent 
 and dissent, from humiliation and scorn, can find outward expres- 
 sion only in the calm uplifting of the head. It is also evident 
 which of these three tendencies or soul-moods in the life of man 
 is uppermost, by the carriage of the head which will infallibly ex- 
 press one or the other ; for instance, the head thrown backward 
 will express pride and vanity, the head bent forward, mildness, 
 submission, condescension and subjection ; while calmness and 
 quiet self-persistence will find expression in a simple, but firm 
 and upright carriage of the head. 
 
 To the three movements above mentioned may be added that 
 emphatic throwing back of the head which, in every case, points 
 to the prevailing tendency of the wishful and craving soul, sym- 
 bolically indicated by the region of the back head. Every inor- 
 dinately violent exertion of energy, all strong desires make the 
 hind part of the head the prevailing pole of the head movement 
 and draw it backward. 
 
 A weak sideward inclination of the head is indicative of ex- 
 haustion and mental over-exertion ; a more or less forward in- 
 clination denotes sorrow, depression and discouragement. If the 
 sideward movement is more decided, doubt is expressed ; doubt 
 with astonishment by a sort of swaying motion from left to right. 
 A mere turning to the right or left denotes dissatisfaction, oppo- 
 sition or aversion. If, at the same time, the head is bent 
 backward or uplifted, it is characterized as a looking over the 
 shoulder, a gesture of scorn or of impudent challenge. The 
 mere sideward turning to and fro is denial ; if this happens several 
 times in quick, abrupt succession, to the right and left, it is shak- 
 ing the head and thus the denial or displeasure is emphasized or 
 finds expression in impatience, dejection or displeasure. A quiet 
 shaking of the head is a sign of doubt upon some matter, 
 
I06 .ESTHETIC PHYSICAL CULTURE. 
 
 or certain sort of surprise. Shoving forward the head with an 
 elevation of the chin, is a sign of curiosity, and indicates Hsten- 
 ing ; hence we find this movement in individuals who are caught 
 listening. 
 
 2. The Arms and Hands in General. 
 
 Quintilian says of the use of the hands : 
 
 '' While the other limbs assist the speaker, the hands, I dare af- 
 firm, speak themselves. For do we not demand, promise, call, 
 dismiss, threaten, entreat, abhor, fear, ask, deny with them ? Do 
 we not indicate joy, sadness, doubt, acknowledgement, remorse, 
 measure, multitude, number and time with them ? Do they not 
 arouse courage ? Do they not mourn, repel, consent ? Do they 
 not express admiration and shame ? This is the language which 
 in the great diversity of tongues among all races and peoples, I 
 have in common with all men." 
 
 If Quintilian, who wrote only for orators, speaks thus of the 
 hand, of what importance must it be in the representation of the 
 whole man ! 
 
 Some animals have horns ; others have hoofs, teeth, claws, 
 talons, spurs and beaks ; man has nothing of the sort ; he is placed 
 weak and defenseless in the world, but the hand aside from its 
 practical use, gives him compensation for all this. 
 
 It is impossible to give, it would be absurd to attempt to give 
 all the movements of which the head and arm are capable. In 
 accordance with the purpose of our book we present only funda- 
 mental rules. 
 
 Physical Gymnastics have taught us the movements of which 
 the arm is capable ; we now consider briefly their significance in 
 acting. 
 
 The arms may hang quietly at the side, but in this posture they 
 express no mental emotion. A crossing of the arms over the 
 breast indicates investigation ; a crossing of them behind the 
 back indicated attention merely. In the former case the body 
 bends forward ; in the latter, backward. In acting, the hand is 
 
GESTURE. 107 
 
 the all-important member. It stands in the same controlling re- 
 lation to the upper and lower arm that the eye or mouth has to 
 other parts of the face. 
 
 The hand is important to the actor, not only on account of its 
 general movements, but also from the fact that the fingers enable 
 it to open or close with various degrees of force. 
 
 Thus a hand slightly closed denotes mildness ; while in the sem- 
 blance of defiance or contempt, the closed fist and the inner side 
 of the arm are turned toward the one threatened. Real rage 
 turns the inner side of the arm and the clinched fist toward him. 
 
 Furthermore, the fingers of the hand and their movements are 
 of great import in acting. The thumb must be called the clinch- 
 ing finger, since it gives its character of defiance to the clinched 
 hand. It is at the same time the most technical finger among the 
 five, and the strongest. It also serves for mental expression, as, 
 for instance, (Fig. LVII.) in the scorn evident of what is past 
 
 Fig. LVII. 
 
 or not present. The finger next the thumb is aptly called the 
 index, or demonstrative finger. It points always in a noble way, 
 and contempt is foreign to it. Its office is pure demonstration, 
 it serves as an expression of the reason rather than the sensibili- 
 ties. Place, things, time and persons, are pointed out by it. 
 (Fig. LVIII.) 
 
 Fig. LVIII. 
 
io8 
 
 ESTHETIC PHYSICAL CULTURE. 
 
 Next to the index finger stands the third, the so-called middle 
 finger, the longest. In acting, it should be called the wishing 
 finger. We observe how greedy for an object really at hand is 
 he who points to it with this finger. (Fig. LIX.) The finger next 
 
 ^?T~~x**^ 
 
 Fig. LIX. 
 
 to this is called the fourth. It might be named the feeling and 
 testing finger. If one would scratch the chin or rub the eyes 
 gently, he uses this finger. Those born blind teach them- 
 selves at first only by feeling with the index finger. The last 
 finger is called the fifth or little finger. The actor might call it 
 the belittling finger, for it expresses belittlement in a noble or 
 ironic sense. One need only recall how naturally he touches the 
 tip of the little finger with the thumb to indicate the little. 
 
 In works on German art dating from the middle ages, we sel- 
 dom see a hand in true, noble repose. The mediaeval Germans, 
 for the most part, delineated the hand with its fingers lying close 
 together, indicative of effort ; or they gave the hand a genuine 
 expression. In the statues of ancient Greece, on the contrary, 
 the repose of the hand is masterly. The fingers are bent, but 
 not obtrusively, the index finger least of all. Hence on to the 
 little finger the curvature increases as if to show the capability of 
 the hand in demonstration. (Fig. LX). The fingers are not 
 
 LX. 
 
GESTURE. 109 
 
 pressed together, they are separated, but not so much that the 
 separation seems forced. 
 
 J. Main Principles of the Position of the Hand in Acting, 
 
 This portion of our work is founded upon Ling's book, adapted 
 by Hugo Rothstein. He divides the various positions of the 
 hand into the following groups : 
 
 (a) Hand flat and horizontal with inner palm upward, with 
 under arm held up, or the whole arm extended or held forward, 
 indicates offering, explanation, salutation. In grasping hands in 
 salutation, naturally the hand of him who salutes is offered, while 
 that of the other only grasps it, and therefore takes the inverted 
 position. 
 
 (h) Hand flat and horizontal with inner palm downward is the ges- 
 ture of protection, guardianship, blessing, confirmation, of irrevoca- 
 ble decision and conclusion ; also the gesture commanding repose 
 and silence. Alternating with (a) it indicates gazing around, con- 
 templation. 
 
 {c) Hand vertical with inner palm reversed, lower arm drawn 
 forward, the whole arm more or less elevated, is a sympathetic 
 gesture, for beckoning, for presentation, for well-meant or earnest 
 meaning, for reproach, etc. ; also a gesture of contemplative 
 thought, intuition, etc. 
 
 {d) Hand vertical with inner palm forward, with under arm 
 raised or fully extended is antipathetic, evasive, repellent, ex- 
 pressive of abhorrence, fear, horror ; with the arm raised high, the 
 utmost horror. 
 
 (e) Hand with thumb downward and inner palm outward ; 
 with arm more or less extended, or united with a side movement 
 of the same is repellent, setting aside, displacing, casting out, 
 not wishing to know of something ; it is also the gesture of con- 
 tempt, etc. 
 
 (/) Hand with thumb upward and. inner palm inward ; lower 
 arm still raised forward, with elbows against the body, or the 
 
no ESTHETIC PHYSICAL CULTURE. 
 
 whole arm extended more or less, is separating, sundering, dis- 
 criminating, rending. 
 
 These six main positions of the hand are taken with one hand 
 or with both together. In the first case the other hand remains 
 passive, or makes a complementary gesture, but in other cases 
 both hands unite by 
 
 (g) Laying the inner palms together with the hands horizon- 
 tal and usually one crossed over the other, rarely with a quiet 
 bearing, but with constant beating of the upper against the lower 
 hand ; commanding repose or silence, but used, also, for the live- 
 liest clapping in applause ; or both hands with their length line 
 horizontal, their cross line vertical, and thumbs upward wedge- 
 shaped as if to separate something, a position of the hand quite 
 habituafwith preachers and schoolmasters. Joined with clapping 
 this is a gesture of real or malicious joy ; or both hands vertical, 
 and usually on a level with the breast, for persistent entreaty as 
 well as for prayer, in which case the fingers lie tensely one 
 against the other or are entwined. 
 
 (//) The hands folded crosswise, inner palm upon inner palm, 
 but with locked thumbs and fingers, denotes a humble, reverent 
 bearing sometimes used in prayer. 
 
 (/ ) Laying of the back of one hand upon the palm of the other, 
 or both inner palms turned upward, both hands somewhat bent, the 
 arms pendent, either before or behind or both inner palms down- 
 ward, and the arm hanging stifidy in front, denotes passiveness, 
 comfort, etc. In certain sorts of admiration, also in involuntary ad- 
 miration, the arms are elevated and brought forward. This man- 
 ner of holding the hands also expresses a feeble degree of de- 
 spair, and the whole gesture is something like that of wringing 
 the hands. 
 
 (y) Folding the hands with the fingers interlaced, if the 
 fingers only twine loosely — this manner of holding the hands with 
 the arms at the same time hanging laxly, indicates nothing more 
 than reDOse or comfort, otherwise a self-contained nature, intro- 
 
GESTURE. Ill 
 
 spection, devotion, and similar mental moods, the deeper and more 
 ardent the latter, so much the nearer do the inner palms approach ; 
 they even unite in an intense pressure, in which case both folded 
 hands are carried to the breast, and more or less pressed against 
 it. Besides, this folding of the hands serves for a gesture of 
 earnest entreaty. 
 
 (Iz) Wringing the hands, a gesture difficult to describe, because 
 it is movable and changeable so far as the hands are concerned. 
 The hands certainly remain in contact, still not in a decided 
 grasp. The fingers meantime are now closed, now folded, the 
 arms in restless movement, now bent, now extended, now raised, 
 now lowered, etc. This gesture naturally occurs only in very 
 deep and powerful excitement, in the most profound agony and 
 despair. 
 
 4. The Torso. 
 In Physical Gymnastics we have learned the torso's capability 
 for movement, in turning and bending forward, backward and 
 sideward. What significance have these in acting ? 
 
 An easy, but still firm and erect carriage of the torso, indicates 
 self-esteem and dignity. 
 
 Bending forward always expresses a sympathy for the object 
 toward which the torso inclines ; bending backward expresses an- 
 tipathy. The first, therefore, denotes affection, confidence, 
 readiness to assist, benevolence, friendliness, etc. ; the second, 
 aversion, distrust, hatred, etc. 
 
 A drawing sideward, as if turning away from something, ex- 
 presses disregard, distrust, scorn ; and an entire turning, in which 
 naturally the foot takes part, expresses these sentiments in the 
 highest degree. 
 
 In the side movement as if turning toward something, there 
 lies, in fact, a certain degree of sympathy ; but if the foot does 
 not take part in the movement, there is here a sort of disregard 
 and indifference. 
 
 To draw back the shoulders with the chest arched, indicates 
 
112 .ESTHETIC PHYSICAL CULTURE. 
 
 courage, boldness and especially self-confidence. This attitude 
 strongly marked, denotes haughtiness, arrogance and scorn. 
 
 Drawing forward the shoulders with the consequent drawing 
 in of the chest, is the sign of anguish, fear, despondency, etc. 
 
 A drawing downward of the shoulders occurs mostly in sud- 
 den terror. Connected with the drawing of them upward pro- 
 duces the gesture of shrugging. 
 
 5. The Legs and Feet. 
 
 The action of the legs and feet in mere progression, has been 
 accurately described in "The Mechanism of the Walking Ap- 
 paratus." Aside from their ofifice in walking the legs and feet 
 have another office : The support and carriage of the torso in all 
 positions. Even regarding them only as supporters, we find them 
 not entirely passive in gesture. However, they perform their 
 destined office under all circumstances, even if the body is not 
 for the moment in motion. If the gesture of standing is complete 
 the position of the feet must show exactly whether the gesture 
 indicates progression or not. 
 
 In all the gestures carried out in standing in which the feet 
 take an active share, one of the feet must always sustain the body, 
 while the other assumes the motion. 
 
 Hence, according to Rothstein, arises the designation of one 
 foot as the standing, the other the acting foot. There are but 
 few cases where this distinction does not enter, and both feet 
 alike sustain the body ; these are the stiff, arbitrary position of 
 the soldier before his superior, and that of the servant before his 
 master. Here the heels are close together, or one is close against 
 the inner edge of the other foot, the knees being tense. This 
 position, although the body is sustained by both feet, is by no 
 means one of repose ; it is an arduous one, and expresses subor- 
 dination, obedience ; a strict inward sense of the commands and 
 charges to be given, as well as a forced, stiff manner ; hence only 
 for brief moments can it remain the attitude of voluntary respect 
 and obedience. As soon as this forced subordination grows 
 
GESTURE. 113 
 
 somewhat lax, one foot loosens a little and its knee bends slight- 
 ly, while the line of gravity passes more and more to the other 
 foot. At this first effort of the one foot for freedom, the rela- 
 tions of standing and acting foot alternate. In acting, the alter- 
 nation of the standing foot must be so managed that the original 
 standing-place may be retained by the actor. 
 
 From such transpositions of the feet arise those various posi- 
 tions in which the body sometimes remains only for a moment, 
 but often for a greater or less length of time. The main forms 
 are: The standing position, the walking, stepping and side po- 
 sition, and the thrust position. The striding or walking position 
 expresses, as a rule, a tendency to move forward. Setting the 
 foot forward indicates meeting, stepping together, reception, of- 
 fering, etc. Setting back the foot indicates withdrawal, flinching, 
 fleeing, renunciation, etc. Assuming the side position may also 
 indicate progression, but only in the sense of avoidance or with- 
 drawal. This attends very emphatically, for instance the gesture 
 of contempt. The thrust position, results usually from a sudden 
 and violent excitement, and for the most part, accompanies only 
 very animated action. As taken backward or forward and ac- 
 cording to the bearing of the upper body and the upper extremi- 
 ties, it may express very different things. For instance, a set- 
 ting back of the foot, and bending back of the upper part of the 
 body, is the gesture of the highest sort of horror. 
 
 We must here briefly distinguish the different angles of the po- 
 sitions of the feet. The outward rectangtilar position is the nor- 
 mal one ; the obtuse angle is forced, does not present sufficient 
 firmness, reminds one of the dancing master, indicates an affected . 
 manner (affectation). The acute angle leads to the inward posi- 
 tion, and expresses helplessness, awkwardness, stupidity, coarse- 
 ness, etc. Each of the aforesaid foot positions can be carried out 
 only by the help and support of the legs, consequently it relates to 
 these also. 
 
114 .ESTHETIC PHYSICAL CULTURE. 
 
 6. Walking in Acting. 
 
 We have learned to understand the natural gait as a mere on- 
 ward movement as well as in its aesthetic sense ; but something 
 remains to be added in regard to the walk in acting. 
 
 Whether the walk is for the dramatic representation of given 
 characters or for special intellectual excitement, several shades 
 and modulations enter into the movement. 
 
 It is evident that, for instance, joy and pleasure bring with 
 them a perceptibly increased swiftness of movement, while with 
 sorrow and melancholy, there would be a perceptible decrease. 
 Exalted moods and passions require an increased switfness. Cour- 
 age and decision show a secure, firm tread ; cowardice, a weak, 
 wavering gait, a slow, or at least, very moderate tempo. In an- 
 guish and horror, the gait is tottering ; in courage and fury, tem- 
 pestuous. Hypocrisy and treachery sneak along ; silliness and 
 vanity move with short, tripping steps and feet much turned out- 
 ward ; phlegm (indifference) and idleness have a ^low and slip- 
 ping or rather slouching gait ; scorn a stamping gait, etc. 
 
 In general, it may be said that the further a man's special 
 character departs from the ideal of true manhood, the greater his 
 moral faults and weaknesses, so much wider become his departures 
 from the normal gait, from the bounds required by grace and dig- 
 nity, and so much the more decidedly will his gait indicate one 
 'fault or the other, or the several forms of fault. 
 
 Although the structure of our walking apparatus tends naturally 
 to. going forward, and this is the normal method of walking, it 
 also admits of walking backward. If, for instance, one would 
 withdraw from a person to whom reverence is due, decorum de- 
 mands that this take place with single, backward steps, with the 
 face fixed upon the revered person ; then the full turn for walking 
 forward is made. Neglect of this rule renders one liable to the 
 reproach of ill-breeding, disrespect and irreverence. Also, in great 
 surprise, in astonishment, horror, etc., one walks backward some 
 steps. 
 
GESTURE. 115 
 
 Walking forward usually takes place in a direct line, but men- 
 tal or outside motives often require a circuitous direction. If, 
 for instance, two persons in walking meet upon one line, one of 
 them must step^side ; common politeness demands that in two 
 persons of the same station, both should do this ; but in meeting 
 an honored personage, we leave the path free for him. In like 
 manner, the gentleman steps aside for the lady, the young for the 
 old. 
 
 Among the mental motives which lead to walking in curved 
 lines, are suspicion, embarrassment, espionage, anxiety, despair, 
 etc. 
 
 In regard to going up to a person which is to be distinguished 
 from a mere meeting, no decided rules can be given, since many 
 local conditions intervene. But this much may be said : In ap- 
 proaching a person of higher rank, the walk, if before rapid, must 
 grow slower and more dignified, and a pause occur at least two 
 steps distant from him ; in the case of a prince, three steps. (See 
 Parts Fourth and Seventh.) 
 
 An important characteristic in walking in common life and far 
 more so upon the stage, is the ability to measure with certainty the 
 distance. A firm, clear-sighted individual knows how many steps 
 he must take to reach his goal, whether the steps be long or short. 
 Undecided characters never know this, and, therefore, come 
 hastening too near the object or not near enough, or make several 
 missteps. An actor should be able to measure with bandaged 
 eyes the dimensions of the stage in all directions, and let his 
 gait be measured by circumstances. We often notice the absurd 
 gait of one who hands a letter, or perhaps has to take some tri- 
 fling thing upon the stage. Often in such cases servants ap- 
 proach too near their masters, or pause too far away, so that the 
 master is obliged to come to meet them. Comic actors well know 
 how to raise a laugh in this way. 
 
 7. Characteristic Tokens of Several Kinds of Gait, 
 
 The heavy gait is thus characterized by Harless : At the 
 
Il6 ^ESTHETIC PHYSICAL CULTURE. 
 
 moment when the centre of gravity falls over the axis of the 
 middle of the foot, the swinging foot has already set its heel on 
 the floor, near that point. One walks in this manner after severe 
 illness, in bearing heavy burdens carefully over a smooth surface, 
 especially when the nature of the ground or the muscular strength 
 at command advises caution. The nearer the heel of the forward 
 foot is set near the ball of the backward foot, so much the more 
 constrained will be the gait. This gait may be slow or rapid as 
 the line of gravity approaches nearer the foremost foot. It indi- 
 cates a sort of insecurity, anxiety or cautiousness ; and is, there- 
 fore, often employed by elderly people or invalids, or for walking 
 in the twilight. The space in which the body rests only on one 
 leg will, for this reason, be shortened as much as possible. 
 
 The shuffling gait upon the soles of the feet is thus described : 
 The hindmost foot does not lift its ball from the floor before the 
 forward foot resumes its standing position. We find this gait 
 among the blind, in groping and creeping. In the latter, we also 
 find walking on tip-toe, where the body is usually bent somewhat 
 forward. 
 
 The Swaying Gait. — This arises less from bending the knee 
 than from turning the hip. AVe find it united with a heavy step 
 in fleshy people, in bearing upon the head heavy burdens or 
 objects liable to break, in walking upon stilts, in the heavy stage 
 step in caricature. 
 
 Akin to this is a gait in which the sole of the foot is considered 
 immovable, and, therefore, at every step falls with its whole sur- 
 face on the ground. In this gait, the steps are very short, and 
 the line of gravity always falls upon the heel of the foremost 
 foot. This is the "Turkish gait" of the stage. 
 
 The Dignified Gait. — In this gait the upper body which stands 
 erect, with knees more or less stiff, seems to be drawn out and 
 elongated from the hips. The time during which both feet 
 touch the floor, is therefore the longest. Here the more or less 
 decides infinitelv much. An inch more and we see a caricature. 
 
GESTURE. 117 
 
 If, in this gait, the toes are set down first and too soon the result 
 is 
 
 The Daficing-inaster Step. — This step arises from swaying the 
 hody sideways and is, consequently, insecure. The groping gait 
 is the same, and the standing foot is more or less bent from the 
 knee. 
 
 THE LIMBS IN HARMONIOUS ACTION. 
 
 /. The Divisions of Gesture. 
 
 Ling divides the various gestures of which man is capable in- 
 to five classes: 
 (a) Expressive, 
 (V) Delineative, 
 
 (c) Interpretative, 
 
 (d) Imitative and 
 
 (e) Conventional. 
 
 (a) Expressive gestures we call those which characterize only 
 individual mental states. To embody such gestures requires a 
 lively fancy and a fine gift of observation. If the actor is devoid 
 of the latter, he will give us the expression of his own emotions, but 
 not those of various individuals. Here the actor must guard 
 carefully against exaggerations ; one step too far, and the sub- 
 lime becomes ridiculous. Rules cannot be given for this first 
 class of gestures. A lively fancy, a cultivated intellect, a fine 
 tact always strike the right medium. 
 
 The portrayal of anger and despair presents the most difficulties 
 to the actor ; his own excitability is apt to take away his presence 
 of mind and carry him beyond the limits of the beautiful. 
 
 {h) Delineative gestures are those which embody the idea of 
 outward objects or their moods and peculiarities. If, for instance, 
 one would materialize the surging of the sea, the contours of a 
 house, a line, a cross, the fusion of two bodies, etc., he helps the 
 words by the aid of an outlining, depicting gesture. In this sort 
 of gestures, the actor must guard against overacting, against 
 
Il8 .ESTHETIC PHYSICAL CULTURE. 
 
 seeking to depict everything. In this way he falls irretrievably in- 
 to the ridiculous. 
 
 The fundamental rule here is : Always grasp the whole, but 
 outline main ideas only, and especially avoid every delineative ges- 
 ture which does not stand in intimate connection with one's own 
 feelings. 
 
 (c) Interpretative gestures are distinguished from delineative 
 ones in that they only express symbolically the common attributes 
 of space, time and strength. For instance : Height, depth, near- 
 ness, width, haste, strength, weakness, multitude, procrastination, 
 etc. 
 
 {d) Imitative gestures are strict imitations of the ways of 
 another without entering into his intellectual life and to act ac- 
 cordingly. Here, also, the right medium must be strictly ob- 
 served. According to Ling imitative gestures are also delineative 
 ones. ^' Here is the same distinction we make in technical draw- 
 ing, drawing after models as copying, or from nature according 
 to our own ideas or fancy. The copyist is strictly bound to his 
 model, and the more closely his copy represents the model with 
 all its peculiarities, and even its faults, the better it is." 
 
 (^) Cojiventional gestures are those which are executed by tacit 
 consent or custom. To this class belong the ceremonies of en- 
 tire corporations, as well as those individual ones which must 
 always be learned from life, and to enumerate which is impossi- 
 ble. The dramatic expression will be modified by age, tempera- 
 ment, habit, national and popular customs. 
 
 To elucidate this subject further would be foreign to the pur- 
 pose of this book. We only append Rothsteiri's words in regard 
 to modifications that belong to different periods of life : 
 
 " The most casual observer cannot fail to perceive how much 
 these main steps must be modified by age. The gestures of 
 youth are animated, its manner restless. The youthful mind 
 easily excited, but usually ingenuous, will express itself in its own 
 untrammeled way if not restrained by outside influences, or toned 
 
GESTURE. 119 
 
 down by education. The old man expresses himself with very 
 few gestures, dwelling longer upon passages, and in general with 
 measured dignity. He lives more inwardly, is without lively 
 emotions, and displays but little feeling. In middle life, the 
 imitative movements are strong, decided, expressive, but more 
 moderate than in youth. The mature man controls his gestures, 
 often represses them, and not seldom affects reserve, even to ex- 
 treme dissimulation. He weighs his position in life, his circum- 
 stances and surroundings, and conforms his actions to them." 
 
 It is self-evident that the manner of gesture must be in accord 
 with the costume and age to which the piece belongs. It would, 
 for instance, be entirely wrong to give an antique figure the step 
 and movement of a person of the time of Louis XIV. or vice 
 versa. The same distinction must be made between a figure of 
 that time and a modern one. 
 
 We will return to the above at the description of Compliments. 
 
 2. The Fundamental Rules for Correct Action of the Limbs in 
 Gesticre are as folloivs : 
 
 {a) Every gesture must render simply, truthfully, but decidedly 
 what it has to express. This law applies to the gesture of the 
 doubtful as well as to that of the certain. In the former case, 
 the very doubt must be decidedly expressed. Hence it follows : 
 
 (b) That every movement not proceeding from the mass of 
 emotions to be portrayed, must be unavailing. Let the gesture 
 be ever so beautiful, if it does not obey this law, it will become 
 unsightly. 
 
 (c) The play of the features must always precede the gesture ; 
 but in depicting very excited mental moods, the gesture often 
 precedes the words. As a rule, it accompanies the text, and co- 
 incides with it. If the text demands that a gesture should end 
 the words, it follows upon them. 
 
 (d) Gesture must not end voluntarily while speech still goes 
 on ; it must accompany the words to the end ; and as in acting 
 
I20 ESTHETIC PHYSICAL CULTURE. 
 
 there is no pause, the actor, after his speech is ended, must reflect 
 in his own features, in his eye at least, that which the other speaks. 
 Here most actors fail. The body, the face is animated only while 
 they are speaking ; when done speaking they fall into a physical 
 as well as mental inactivity, which destroys all harmony. Hence 
 dumb play is the most difficult of all. Here the true artist is 
 manifest. 
 
 (e) Great care must be taken that the movements of the limbs 
 be not exaggerated. To use a military simile, the actor must not 
 shoot with cannon when small shot will answer. 
 
 We have already laid down the fundamental law for arm-move- 
 ments. ''As few movements as possible," we repeat here in re- 
 gard to all gesture. The sins against this law are many and sur- 
 prising. We give a few instances: — The head should be turned 
 gracefully and quickly to one side. Instead of this, the whole 
 body is turned often with constant shifting of the feet. The 
 whole hand and even the arm, is used to designate what could be 
 pointed out by the little finger. 
 
 Many examples might be given. These two will illustrate our 
 meaning. How is it possible to indicate an ascending scale in 
 passion by gesture, if we begin with the strongest ? 
 
 (/) A// the limbs must unite in one gesture, and single limbs 
 must not be entirely in repose, while the others express some- 
 thing. We add in order not to be misunderstood : All the limbs 
 should not share alike in one gesture, but they must all express the 
 intention of this gesture ; that is, the actor must not make a de- 
 cided gesture with his hand, while his feet are wholly in repose ; 
 he must not decidedly indicate an object with one hand and the 
 upper part of the body bent forward, while the other hand, as if 
 not belonging to this body, hangs limp and passive at the side. 
 A lively, but restrained imagination, a gymnastically trained 
 body will observe the right mean. 
 
 (g) Gestures must not come close together ; they must be de- 
 veloped from one another. Hence, there must be no abruptness 
 
GESTURE. 121 
 
 in gesture, if it is not required for expression. If, for instance, 
 we would express joy, and then immediately after it, horror, these 
 gestures must by a rightly defined transition, proceed from one 
 another ; that is, the mind must retain a part, be it ever so small, 
 of the former mood, before the new one can be fully developed. 
 This part of acting is the most difficult of arts ; its right practice 
 is the stamp of perfection. 
 
 (A) The stage walk must conform exactly to the character re- 
 presented, as well while playing as when appearing on the stage 
 and leaving it. We often see the actor enter with his usual gait, 
 while the play requires that of the role. In leaving he also falls 
 back into his own gait. This destroys that illusion which is the 
 object of all acting. 
 
 Entrance upon and exit from the stage are alike difficult. Be- 
 cause the actor seldom speaks upon his entrance he forgets his 
 imitative character and remembers it only when his words begin, 
 which is false. Here let it be remarked that many actors lay little 
 stress upon the number of steps they take in presence of the au- 
 dience ; in this way they mar the characterization. The law of 
 beauty demands that no steps be taken except those required by 
 the situation. Here also we must lay down the fundamental 
 law as in arm-movements : ^' As few as possible." Repose is the 
 main thing in a picture. An actor shows little culture, if in 
 representing a crowned head, he finds no way to express his dig- 
 nity save in striding around the stage. 
 
 (/) It is self-evident that in acting the player never forces him- 
 self to the front unless the character or the situation demand it, 
 and yet so many unpardonable blunders of this kind happen, that 
 we must say a few words in regard to them. If the actor remains 
 true to the character and situation, exaggeration is impossible ; 
 but we often see an actor so exert himself to make a great deal 
 out of a minor part, that we turn from him in aversion. The 
 actor must not go an inch beyond his role, otherwise he will de- 
 stroy its effect and incur the reproach of presumption, vanity and 
 
122 ^ESTHETIC PHYSICAL CULTURE. 
 
 an inordinate desire for applause. The true actor, when upon' 
 the stage, regards himself as but a co-worker for the attainment 
 of a common goal. 
 
 Just as reprehensible is the manner of some modern virtuosos, 
 who either cut out the minor roles of a piece, or shorten them so 
 that nothing of the author's work remains but a parade role, 
 which is sure to be the one most applauded by the public, while 
 the co-actors, whose every chance for effect is cut off, sink in its 
 estimation as artists. This sort of clap-trap arising from a 
 miserable vanity or desire for speculation, has had its day, thank 
 heaven I Let us hope that its end is near. 
 
 J. Of the Use of the Left and Right Hand, 
 My pupils have often put to me the question : ''What is your 
 opinion on the use of the right and left hand ? Do you deem the 
 more frequent use of the right hand an act induced by habit or 
 by inner, organic causes ? " These are questions that require no 
 answer in our book, still we have to point out how the actor 
 must use them. 
 
 Both arms and hands must be educated alike in order that the 
 left maybe used at the left, the right at the right side. No move- 
 ment must take place with the right h^nd to the left side and 
 vice versa. To allow only the slightest movement to the left 
 hand while the whole burden of motion falls upon the right hand, 
 betrays the untrained actor. And still, we find this fault in dis- 
 tinguished actors. Circumstances arise upon the stage, when, 
 as in daily life, the right hand only must be used, as in the oath, 
 the shaking of hands, etc. All this whether one stands to the 
 left or right on the stage must be executed with the right hand ; 
 but if an occasion arises when either may be used, in the move- 
 ment to the left, it must always be the left hand that is taken ; in 
 that to the right, always the right hand. Here, for example, be- 
 longs the kiss of the hand. If the lady stands upon the gentle- 
 man's left he may be easily led to take her hand in his right in- 
 stead of his left hand ; but this would look awkward. ( See 
 
GESTURE. 123 
 
 Handkiss). Just so, if one would hand or pass something from 
 or to the left side, he all too readily employs the right hand. 
 This is entirely wrong. 
 
 If in sitting at table one has to serve wine to the right and left 
 ( although serving usually takes place with the right hand), he 
 must reverse our rule and serve to left with the right and to 
 right with the left hand, since it is awkward to hold the wine-bottle 
 in such a way that the nails of the hand are turned upward, or to 
 turn around so much that one's back is to one's neighbor. 
 
 It is absolutely necessary in daily life, as upon the stage, that 
 the hands be trained in like manner. If in daily life we have not 
 always a public before us, we have one around us in society, and 
 it is both awkward and discourteous, if when sitting with the left 
 side to the table and with the body inclined forward, we take 
 from it a cup of tea, or whatever else it may be, with the right 
 hand. This always shows a lack of tournure. 
 
 4. Greetings Prayer^ Oath. 
 
 The expressions, and signs in salutation, vary greatly among 
 different nations. That kind feeling inborn in every man, as well 
 as its expressions and tokens embodied in the salutation, are more 
 or less diversified according to the degree of his culture, his re- 
 ligious.and political ideas, his nationality, race, position and social 
 rank. Thus the manner of greeting indicates, in some sort, the 
 elementary character of a people, a tribe, and, in many respects, 
 a single individual. 
 
 The Orientals always have been and still remain far more volu- 
 ble and ceremonious in their manner of salutation than the Oc- 
 cidentals. Among all Asiatic people it is the custom to prostrate 
 one's self in token of utter subjection, while serfdom in Europe 
 required this only partially and incidentally. Until very recently, 
 Asiatic subjects addressed their kings only kneeling or prostrate 
 in the dust, regarding them as supernatural beings. This manner 
 of salutation first came in vogue among the Romans, under the 
 reign of Diocletian, (about A. D. 300). The custom in Europe may 
 
124 
 
 ESTHETIC PHYSICAL CULTURE. 
 
 be regarded as an after-growth, respect and submission having 
 been until quite recently expressed merely by kneeling, a practice 
 still common in Russia. 
 
 J. Salutations of the Heh'ews. 
 
 (a) Benediction. — Divine service was ended by the priestly bene- 
 diction with extended hands and bowed form : '' The Lord 
 bless thee and keep thee," etc. The priest who gave the bene- 
 diction, covered his face with both hands. (Fig. LXI.) 
 
 Fig. LXI. 
 
 P'or the better understanding of the position of the fingers the engraver has 
 shown the hands in an upright position. They must, however, be held bent 
 forward though directly covering the face. 
 
 (p) The Civil Greeting. — Not to return a salutation was con- 
 sidered the height of ill-breeding. It was, however, the custom 
 not to salute those mourning or fasting,— a custom still in vogue. 
 Distinguished persons must be greeted, however, but if they were 
 fasting or in sorrow, they need return no answer. 
 
 In coming and going, as well as in meeting, the lower bowed 
 before the higher, repeated his obeisance, bowed more profoundly 
 according to the rank of the person greeted, sometimes falling 
 upon the earth. People also fell upon one another's necks and 
 exchanged kisses. The kiss was a token of mutual good wishes, 
 also a sign of reverence and homage. It was given upon arrival, 
 
GESTURE. 125 
 
 at meeting and parting. The mouth or beard was grasped by 
 the hand, and kissed. Toward princes, the kiss was a sign of 
 homage. As such, it was imprinted upon the hand or knee. 
 
 The Hebrew never uncovered the head in greeting high or low. 
 In Hke manner he prayed — prays to this day — with covered head. 
 It was a shame for women to uncover the head. The head of 
 the woman found guilty of adultery was violently bared by the 
 priest. 
 
 The uncovering of the head as now practiced in Europe to ex- 
 press reverence, respect, good will, came after the promulgation 
 of Christianity, but became with higher culture, a symbol of salu- 
 tation among men. (Women never uncover the head in greet- 
 ings). Notwithstanding the Hebrew custom of covering the head 
 in sacrifice or prayer, the apostle Paul forbade it. And so it 
 happened that among later Christians, it became a fashion to un- 
 cover the head to exalted persons in token of reverence or kind 
 wishes. 
 
 (c) Position in Prayer. — 'The Hebrew who prays, stands with 
 his face to the east, his form erect, his feet together, his hands 
 folded across his breast, or their palms folded and in this way 
 raised to heaven. He retains this attitude during his whole 
 prayer. Whenever the name of God occurs in his prayer, he 
 bows more or less profoundly. The Hebrew never prays kneel- 
 ing ; but in the temple, the whole congregation fall on their 
 knees, as soon as the name of God is uttered. When the prayer 
 ends the suppliant takes a few steps backward to denote this. 
 Naturally this happens only in long prayers. 
 
 (d) The Oath. — In the oath the Hebrew raised his right hand 
 to heaven. 
 
 6. The Moslem Salutation. 
 
 (a) Prayer.— The Mussulman prays like the Hebrew with 
 
 covered head. The one who prays, stands with his face toward 
 
 Mecca, lifts both hands to his face, touches the tips of the ear 
 
 with the end of his thumb, and says : '' God is very great ! " 
 
126 ESTHETIC PHYSICAL CULTURE. 
 
 Then he begins his prayer, now standing, now kneeUng, now with 
 nose and forehead touching the floor. 
 
 If he prays kneeUng, he sits upon his heels, his hands with out- 
 spread fingers, resting upon the thigh or above the knee ; some- 
 times he rises and makes low reverences. The Mussulman prays 
 so assiduously that if in journeying he comes to water, he washes 
 his hands and then spreads out a rug and prays. 
 
 If he prays standing and does not know in what direction 
 Mecca lies, he keeps turning around during prayer. 
 
 In taking an oath, the Turk raises one or all the fingers of the 
 right hand. 
 
 {b) The Citizens Greeting. — The usual salutation in meeting 
 is, ^' Peace be with you ! " The answer is the same. This is 
 called the selam. 
 
 Among highly-fared people it is the custom for him who first 
 salutes, as well as for him who returns the salutation, to lay the 
 right hand upon the heart, or in rare instances to touch his lips, 
 then his forehead or turban with the same hand. This is called 
 the tejnmieh, and is the most respectful manner of greeting, the 
 one especially used in intercourse with distinguished people. v 
 
 Among the Moslems, Persians and Egyptians, if people of 
 lower rank meet those of a higher, the selam is seldom uttered; 
 it is expressed symbolically by touching the heart, the seat of 
 emotion, with the hand, bowing in deepest humility and then 
 touching the earth, lips and forehead with the hand. It is quite 
 usual among the Moslems for the one who salutes to place both 
 hands on the turban. 
 
 There is also a prevalent custom of kissing the hand, usually 
 upon the wrist or palm, and then laying it on the forehead to ex- 
 press peculiar respect, submission and humility. The deepest 
 submission is shown by kissing the foot instead of the hand. 
 The son kisses the hand of his father, the woman that of her hus- 
 band, the slave and also the freed servant that of the master. A 
 
GESTURE. 127 
 
 great man's slaves or servants kiss their master's sleeve or the 
 hem of his garment. 
 
 Friends salute by each placing his right hand in that of the 
 , other ; then each kisses his own hand, carries it to his lips or 
 forehead, or merely lays it on his heart without kissing it. 
 
 After long separation, they embrace or fall upon each other's 
 necks and kiss, first upon the right then upon the left cheek or- 
 the neck. The head is never uncovered in salutation. 
 
 The laughable custom of bowing in supposed Oriental fashion 
 upon the stage with hands crossed upon the breast, should give 
 place to the true method. 
 
 (c) At Visits. — Upon entering the room in which the master 
 of the house sits, one utters the selam. The host returns the 
 salutation. If the visitor is of lower rank, the master of the 
 house remains sitting ; if of the same rank, he makes a slight 
 movement as if to rise. If he stands higher in office, religious 
 or scientific repute, the host rises and approaches, according to 
 rank, one or more steps to the middle of the room, to the door^ 
 to the passage between the chamber and the court, or into the 
 court itself. 
 
 If the visitor stands higher or not lower than the master of the 
 house, he receives a pipe from the latter ; in other cases he is 
 served by his slaves. A cup of coffee is then set near each. 
 While the visitor takes the coffee with or without a pipe, he salutes 
 the host with the tejmineh, which is returned. The same 
 happens when he gives back the cup to the servant. In the same 
 manner the host salutes the guest every time he receives his cup 
 and hands it back, in case he is not far below him in rank. 
 
 If the visitor is of higher rank, the host will accompany him to 
 the stairs or door. 
 
 7. Chinese Salutations. 
 While we find dignified reverences among the Hebrews and 
 
128 ESTHETIC PHYSICAL CULTURE. 
 
 Moslems, we see among the Chinese more bowing than obeisances, 
 quick successions of them indeed with much clasping of hands. 
 
 Of all Oriental peoples, the Chinese are the only ones who 
 offer salutation with bared head like the Europeans, but this is 
 only before magistrates and when one wears a broad- brimmed 
 straw hat. A silent, respectful attitude is indispensable in pres- 
 ence of an officer, who himself gazes down in scorn. This law 
 of etiquette must be strictly observed. Before exalted personages 
 it is the custom to bow profoundly, to even prostrate one's self 
 upon the earth. 
 
 The Chinese honor the gods whose statues are in people's houses, 
 by prostration before them. Before the emperor, one prostrates 
 himself, and touches the floor nine times with his forehead. 
 
 Upon entering and leaving a court of justice, subalterns make 
 a low bow to the officers. 
 
 8. Hindoos^ Greeks and Romans. 
 
 The Hindoo salutation consists in touching the forehead and 
 "bowing the head to the earth. In Sumatra and other East India 
 islands, it consists in prostrating one's self on the ground or plac- 
 ing the foot of the person saluted upon one's head. 
 
 The Greeks, in praying and taking oaths, raised both arms and 
 hands, with the inner palms together, the little fingers turned 
 outward. 
 
 The Romans likewise raised both arms, but with this difference : 
 The inner palms were outward and still turned upward by a back- 
 ward movement of the wrist. In both cases the fingers must be 
 neither clasped nor apart, but maintain their natural position. 
 
 It was an old Greek and Roman custom to greet the coming 
 and departing guest with a shake of the hand, always giving the 
 right hand. Among all ancient peoples the right hand was sacred. 
 Blood relatives and intimate friends did not give the hand only ; 
 they embraced and kissed each other. 
 
 It was the Roman custom to kiss not the lips only, but the right 
 
GESTURE. 129 
 
 hand. Among the ancients there was a sort of kiss in which boys 
 grasped both ears of their parents and other relatives with both 
 hands, and thus kissed. Lovers also kissed in this way. 
 
 The Romans in all things showed greater honor to rulers than 
 
 to private individuals. When rulers came and went, all present 
 
 rose from their seats. In meeting them the head was uncovered. 
 
 p. Salutation^ Oath and Prayer of Modern Times According to the 
 
 European Fashion among Civilized People. 
 
 The uncovering of the head is a general custom. Once prac- 
 ticed only in presence of people of high rank, it has been in vogue 
 as a common salutation since the seventeenth century. 
 
 The Russians, upon Easterday, salute with a kiss on the fore- 
 head. In Poland the peasant greets the priest with a kiss on the 
 hand ; the higher classes grasp the hand, but instead of kissing it, 
 they still retain it, and kiss the priest's shoulder. 
 
 The greeting of the present day consists in removing the hat 
 with gentlemen ; in a slight bow with ladies. 
 
 The rococo time ordained that in removing the hat and placing 
 it on the head, no bow should be made, but the hand perform 
 the whole business. Modern custom demands that the removal 
 of the hat be accompanied with a slight bow and turn of the head 
 toward the one saluted. The hat must always be grasped with the 
 hand opposite the glance, and remain off the head until one is quite 
 beyond the line of the person greeted. The hand must mean- 
 time hold the hat in such a way that its inside is not turned 
 toward the one saluted, but toward one's self. 
 
 Military salutations are subject to certain rules, and demand a 
 special study foreign to the purpose of our book. 
 
 Salutation in a room takes place by a bow more or less pro- 
 found according to the rank of the person saluted. This subject 
 is further treated under the head of ^' Compliment." 
 
 The Oath of Christian people is taken by men with an uplift- 
 ing of the right arm and holding up]of the three fingers from the 
 thumb, while the last two are turned inward. The fingers held 
 
I30 ESTHETIC PHYSICAL CULTURE. 
 
 up must not be in close contact but retain their natural position. 
 Women and priests place the three fingers only on the left side of 
 the heart. 
 
 Prayer is made by Catholics mostly while kneeling ; by Pro- 
 testants standing with bowed heads and clasped hands. 
 
 It is self-evident that all rules given under the heads, Saluta- 
 tion, Prayer and Oaths must not be slavishly imitated upon the 
 stage ; but if the actor would grasp the various characteristics, he 
 can do so only by a full knowledge of their use. It is left to his 
 fine tact to appropriate what is necessary and proper for the 
 serious as well as the comic drama. 
 
 VARIOUS FAULTY GESTURES AND THEIR CORRECTION. 
 
 I, Drinking. 
 
 If the actor has a full glass in his hand, in raising it to give a 
 toast he is apt to fall into a very absurd gesture. He lifts the 
 hand containing the glass without considering that fluids are not 
 solid bodies ; and after he, in any event, would have spilled the 
 contents by this movement, he enacts the pantomime of drinking. 
 Nothing can be more absurd than this. One has only to take a 
 really full glass in hand and note how different will be the gesture. 
 The glass is certainly raised at the toast, not with a jerk, however, 
 but with a gentle arm-movement. 
 
 Many commit just as great an error when sitting before a 
 full pitcher or cup from which they must drink for a long time ; 
 they make at the first or second draught, a movement indicating 
 that the liquid is all gone, and after this pretend to drink from 
 the already empty vessel. This must be carefully avoided. 
 
 If the actor has to drink continuously from a glass or mug, 
 without power to refill it, he must reckon exactly how he may 
 represent the gradual exhaustion of the vessel. This must also 
 be observed in pouring wine from a bottle or pitcher. The 
 second pouring usually gives the spectator an idea that the vessel 
 is empty, and yet we see the actor go on making the motion of 
 pouring from the empty bottle. 
 
GESTURE. 131 
 
 Neither must the drinker, as a man of the world, bend his head 
 down to the cup ; he must carry it to his mouth. If the drinking 
 is characteristic, if it is to represent an extraordinary thirst, a sort 
 of eagerness, the head must be bent toward the cup more or less 
 according to the degree of thirst, or the lower or higher rank of 
 the person. 
 
 Trivial as these faults are, they are, nevertheless, faults, and 
 the actor must not suppose that they escape the close observer. 
 They excite a smile, the smile leads to a laugh, which called forth 
 in the wrong place will spoil everything. 
 
 2. The Holding of a Cup of Coffee or Tea. 
 
 If a cup is to be finely held, the spoon must not be placed in 
 the saucer, but must remain in the cup. The saucer is held with 
 the left hand, the cup with the right (Fig. LXII.) and is carried 
 
 Fig. LXII. 
 
 to the mouth without bending the head toward the cup, and re- 
 placed the same way in the saucer. To take sugar with the 
 fingers is always "bad form.'* 
 
 J. Patomimic Reading and Letter Writing. 
 
 Both, as a general thing, occur upon the stage in so remarkably 
 short a time that it is impossible for the spectator to believe in 
 the truth of what he sees. 
 
132 ESTHETIC PHYSICAL CULTURE. 
 
 Reading. — Every letter has a superscription. Let the letter 
 contain what it will ; it may set the reader into ever so much ex- 
 citement (sorrow, joy, pain, etc.,) he usually reads its superscrip- 
 tion calmly, if it does not of itself prophesy misfortune, or the 
 reader does not already know that misfortune awaits him. Here 
 a pause, be it ever so short, is necessary ; then begins the panto- 
 mime of reading the letter. Whether it is long or short, the ef- 
 fect must in this way be visible to the spectators. The actor has 
 exactly to indicate the preface, the continuation and at last the 
 culmination of the letter, if ever so short, before he passes over 
 to its eifect in the pantomime. But as we see constantly, es- 
 pecially in opera letter reading, the opening and the patomime 
 of the climax are one, and the reading takes place with a rapidity 
 that in real life would not suffice for reading the simplest super- 
 scription. The tragic situation thus becomes comic. 
 
 Writing. — In just such an unnatural way writing takes place 
 upon the stage. If the actor has not as much time as the writing 
 of the letter really demands, he must strictly hold to the required 
 stage time if he would hot destroy all illusions. But most letters 
 are written in as short a time as the mere signature of the writer 
 would demand. We seldom see the letter dried in pantomime 
 by sand or blotting paper, and the audience have the involun- 
 tary feeling that its receiver receives a blotted, illegible letter, 
 which is against the laws of good breeding. If the actor has no 
 blotting paper upon his desk, he must go through the patomime 
 of using sand. But he must not forget to shake off the sand, for 
 it is as bad form to send a letter full of sand as a blotted one. 
 
 ^' One* thing I implore, no more sand upon the little notes you 
 write to me ! To-day I quickly passed it to my lips, and my 
 teeth grated." (Werther to Lotte.) 
 
 Here Goethe is only in jest, but it is really not nice to show 
 sand upon a letter, nor quite respectful to a superior. It is bet- 
 ter to use blotting paper which should be upon every writing-table. 
 If neither is at hand, the actor must make a slight movement 
 
GESTURE. 133 
 
 through the air, to hint at least at drying ; and a hint suffices on 
 the stage. 
 
 4. Turning the Leaves of a Book. 
 Many in real life have the habit of moistening the finger at the 
 mouth in turning a leaf, and carry this habit to the stage. The 
 reason of this is a fear that two leaves may be turned instead of 
 one. It is a habit wounding to fine sensibilities, and upon the 
 stage, where there should always be the semblance of good socie- 
 ty, it is more offensive than in real life. The leaf to be turned 
 must not be seized at the very moment of turning, but some 
 time, in advance thereof, and in the following manner : Lay the 
 thumb lightly on the leaf to be turned, and at its upper edge 
 sever it lightly from the others with the index and middle fingers. 
 
 5. Use of a Pencil, 
 
 It is just as ill-mannered to moisten the pencil at the mouth, 
 from time to time. If the pencil is good it will do its work un- 
 moistened ; if bad, moistening is of no use, for it must follow 
 every word, and how would such writing look ? 
 
 These are slight faults, but if one aspires to high and noble 
 things, he must avoid them. 
 
 PRACTICAL EXERCISES FOR PUPILS. 
 
 If the pupil has mastered the first three parts of our book, the 
 preparatory steps demanded by our system are nearly ended. 
 His next step must be a practical application of what he has 
 learned, — by gestures and movements without words. 
 
 A few examples will illustrate our demand. We take these 
 from Fred. Ludwig Schmidt's, " Aphorisms," a book to be warmly 
 commended to every disciple of art, that is to say, after he has 
 mastered perfectly the three above mentioned parts of our book. 
 Otherwise the following and all similar demands made upon the 
 pupil will be useless work to both pupil and teacher. These trials 
 are : 
 
 I. A simple entrance, a walking forward, the handing of a let- 
 
134 ESTHETIC PHYSICAL CULTURE. 
 
 ter, the reception of a hint to leave, turning with respect to one 
 or several persons in the room. 
 
 2. The pupil tries an entrance in his own character. He 
 imagines that he enters a hall containing a brilliant assemblage. 
 How many grades of movement, how many of bearing are sup- 
 posable here ? Decorous walking forward in itself ; bowing in 
 general, then in particular to the mistress and master of the house, 
 to a distinguished guest, to an acquaintance, a relative ; each situ- 
 ation demands ever so subtle, yet a different movement. If one 
 will pursue this business still further, he may imagine some event ; 
 it may be to pick up a fallen card and hand it over properly (see 
 Part Third); to bring a chair to a lady, or to conduct her with the 
 required gallantry to a sofa. Many such cases are at hand and 
 can be utilized by the pupil. 
 
 3. The pupil walks slowly in at the door, lingers here in an un- 
 easy attitude, strides forward with interrupted steps, then falls 
 slowly down on the left knee (if the object of his homage is at his 
 right). He now imagines her flying to his left ; he rises anxiously 
 follows with quickened steps, and ventures here a sudden fall, 
 using the right knee, lingers entreating, then rises quickly, 
 makes a movement to go, tarries, glances back and now hastens 
 from the stage. In this practice a change in step or gait is to be 
 accurately observed. The teacher allows a pause at every change 
 of attitude, and arranges the proper carriage of the whole body 
 with constant care to its always appearing half turned toward the 
 parquet. 
 
 4. The pupil paces the stage in a passionate mood, strides over 
 it in all directions, makes a longer or shorter pause at each, throws 
 himself exhausted upon a sofa, springs up, hastens in towering 
 passion to the door, feigns meeting a horrible object here and 
 swoons. 
 
 Here would be the whole gamut from the first calm step to the 
 wild plunge. This it is which is learned from no dancing mas- 
 ter ; — to which only a skilled artist can lead the way, by whom 
 
GESTURE. 135 
 
 the practice only briefly hinted at here may be indefinitely ex- 
 tended. 
 
 The next practice in mimic representation is confined to cer- 
 tain passions which the teacher gives at will, mounting from easy 
 to difficult, expanding them in all directions ; proving whether the 
 pupil can put to practical use all he has learned or must be helped 
 here and there, and where. 
 
 If the teacher is convinced that the pupil satisfies these de- 
 mands, and the latter has brought his voice and speaking appa- 
 ratus to the same degree of cultivation as his body, then he may 
 proceed to the third step of culture in which words are united to 
 gesture ; to dramatic representation, passing on systematically 
 from the easy to the difficult. 
 
 If the pupil is educated by another than this rational method, 
 as has mostly been the case hitherto, his future depends upon ac- 
 cident ; he will waste his best years in a search for laws which 
 have nothing to do with the fundamental principles of the actor's 
 art. In coming and going, in twisting and turning, in the car- 
 riage and movements of the arms, we still recognize the begin- 
 ner even after years. Yes, he not seldom betrays it in minor 
 things, by falling into mannerisms, — and magnificent talents are 
 in this way lost for dramatic art. 
 
PART FOURTH. 
 
 THE ART OF DANCING. 
 
CHAPTER I. 
 
 THE ART OF DANCING. 
 
 (U1TI7EESI' 
 
 Dancing is usually divided into two sorts : 
 
 1. The Society and National Dance. 
 
 2. The Theatrical Dance. 
 
 Although almost every country has a peculiar kind of society 
 dance, they are all alike in that two or more persons take certain 
 prescribed steps, more or less complicated, to musical tempOy and 
 repeated ad libitum. 
 
 We find the dance in the most ancient times, but naturally in a 
 simple form. In the middle ages it fell into disuse, not reviving 
 until the seventeenth century, and then in Italy, from whence it 
 went to France and there attained the high perfection it enjoys 
 to-day. 
 
 I. Carriage of the Body. 
 
 The Upper Body. — It is important in ordinary life that the 
 body and its limbs should appear only in plastic attitudes, but 
 this is especially requisite in the art of dancing. A carriage erect 
 but without stiffness, an easy, unembarrassed bearing of the arms, 
 a pleasing and agreeable position of the hands and fingers are in- 
 dispensably essential. We attain these by expanding the chest, 
 throwing back the shoulders, and letting the head set lightly and 
 easily upon the shoulders. 
 
 The character dance certainly demands various positions of the 
 .body ; but elasticity, grace and decorum are main conditions which 
 even in the rudest national dance must not be wanting. If one 
 pretends to the name of artist, these must be strictly observed. 
 
 Legs and Feet. — The main rule is that from the hips to the 
 thigh and knee, the upper legs must be turned sharply outward, 
 whereby the lower legs and toes are forced into the same position 
 
I40 
 
 ESTHETIC PHYSICAL CULTURE. 
 
 2. Fundamental Positions and Movements. 
 
 There are five positions of the feet and three of the arms, the 
 third of which is of a twofold sort ; and four fundamental move- 
 ments, viz.: Two knee-movements, bending and extending (every 
 dance-movement begins with bending and ends with extending) ; 
 and two movements of foot-bending, including the toes — up and 
 down tension. From these fundamental attitudes and movements 
 arise the fundamental steps. 
 
 As seven notes form the foundation of the art of music, so 
 seven steps form the basis of the present art of dancing ; and new 
 and complicated steps arise only from the quicker or slower transi- 
 tion from the one to the other, the blending of two or more steps, 
 and the more or less frequent repetition of the one step or the 
 other. 
 
 J. The Position of the Feet. 
 
 First Position. — Both heels together, the toes as far apart as 
 possible. (Fig. LXIII.) Every other position of the toes, so 
 
 Fig. LXIII. 
 that the heels only remain closed, is also called the first position. 
 Second Position.— The right or, left foot in a straight line side- 
 ward. (Fig. LXIV.) 
 
DANCING. 
 
 141 
 
 Third Position. — The heel of one foot stands by the inward 
 middle of the other. (Fig. LXV.) 
 
 Fourth Position.- 
 feet are separated. 
 
 Fig. LXV. 
 
 - Like the third, with the difference that the 
 (Fig. LXVL) 
 
 Fig. LXVL 
 
 Fifth Position. — The toes sharply turned outward, press one 
 of them against the heel of the other foot. (Fig. LXVII.) 
 
 While the first four positions are met with at every moment of 
 daily life, the fifth position is found in the dancing art only, where 
 it passes as a proof of artistic dexterity. 
 
 The positions are also divided into closed and open. The 
 closed are the firsts third and fifth ; the open, the second and 
 fou7'th. The removal of the foot into the open position is made 
 according to the size of the body, and will be right if the knees 
 remain tense and the bodily carriage is natural. 
 
142 
 
 ESTHETIC PHYSICAL CULTURE. 
 
 Fig. LXVII. 
 
 From the four fundamental movements — bending, extending- 
 tension up and down — arise eight main movements. These ren- 
 der possible every action of the foot out of the fundamental posi- 
 tion, remaining in one place or taking various directions, and are 
 named as follows: — 
 
 (a) The right ; a direct line forward and backward. 
 (/') Open ; spread to the sideward, right and left, 
 
 (c) Round ; circular formed. 
 
 (d) Tortuous ; in serpentine windings. 
 
 (e) Slippery ; slipping, gliding, grazing. 
 
 (/) Leaping and falling back ; hopping or springing upward, 
 and, in consequence, again falling back or down. 
 
 (g) Tourne ; turning with swinging motion. 
 
 (h) Battii ; beating in the widest sense ; that is, beating out- 
 ward, inward, toward, or together. 
 
 4, The Positio7i of the Arms. 
 
 First position. — The arms hang unrestrained and lightly at the 
 side. (Fig. LXVII. a—d, ej also Fig. XXXIL; a, c and Figs. 
 X. and X. a, i.) 
 
DANCING. 
 
 143 
 
 ^%^^' 
 
 Fig. LXVII. a. 
 
 Second Position. — Both arms swing horizontally at the side, 
 the thumbs upward. (Fig XXVII. , 4, 4.) 
 
 Third Position (a). — The arms swing horizontally forward a 
 shoulder's breadth from each other. (Fig. LXVII. a, — d, a.) 
 
 Third Position (d). — The arms are equally removed from each 
 other, perpendicularly at the sides of the head. (Fig. LXVII. 
 a, — dy b.) 
 
 This position, as well as the transition from the second posi- 
 tion (also from the third position a) to the third position {b) indi- 
 cates, in pantomime, only exaltation (high passion), and finds no 
 application in society dances. 
 
 We found in ^Esthetic Gymnastics the application of the posi- 
 tions of the arms; here it may only be remarked that in their exe- 
 cution an avoidance of all angles and an easy, agreeable, rounded 
 form are the main conditions. 
 
144 ESTHETIC PHYSICAL CULTURE. 
 
 5. Exercises Preliminary to the Dance. 
 
 If the pupil has thoroughly pursued the course of gymnastics 
 laid down in Part Second, in learning to dance he will only need 
 to add artistic forms and to reduce to formulas what he has 
 already learned. 
 
 The most excellent practices are : — 
 
 For the Arms. — Facility in the carriage and movement of the 
 arms, avoiding everything forced and exaggerated and all angles 
 and sprawling, acquiring the ability to pass from one position to 
 another in rounded and swaying lines (Hogarthian line of 
 beauty), is called in dancing Xk\.t port de bras. 
 
 We divide the port de bras into the lower (Fig. XXVII., 4, 4) 
 and into the higher (Fig. XXVII., 3.) Under the first head we 
 include all movements that take place below, or horizontal to, the 
 shoulders, either before, or sideward to, them; under the second 
 head, movements above the shoulders, forward or sideward. 
 Hence the first, second and third position {a) form the lower 
 port de bras, while the third position (b) alone forms the higher. 
 In society dances only the lower /^r/ de bras appears; the higher 
 only in artistic and national dances. In artistic dances it is to be 
 especially cultivated, inasmuch as the greatest readiness in the 
 use of the legs loses its effect through a bad port de bras. 
 
 The practice for the lower port de bras is : Fifth position of 
 the feet, first position of the arms. After lifting the arms in the 
 way prescribed in Part II. to the region of the shoulders, they 
 are allowed to fall lightly and gracefully into the second position. 
 (Fig. XXVII. , 4, 4.) They remain a while in this position, then 
 make a change of feet (see elementary dancing step), and pass 
 slowly back to the first position. (Fig. XX VII., 4, 5, 6, and i.) 
 Then the same is done with each arm. 
 
 The gymnastic practice of Part II. leads us to the high/^;Y de 
 bras. In order to acquire the requisite skill and rotmdiiess for 
 this, one holds the arms extended over the head (Fig. XXVIL, 
 3) for some time, then marches, according to the rules for walk- 
 
DANCING. 145 
 
 ing, several times to and fro, and then resumes the normal posi- 
 tion. 
 
 We here call attention once more to the remarks in Physical 
 Gymnastics (Part II.), exactly prescribing the carriage of the 
 arms and hands. An easy carriage of the hands is here indis- 
 pensable. 
 
 The port de bras is also practiced in every one of the five fun- 
 damental positions, and makes with the third and fifth a change- 
 ment de pieds. 
 
 We again repeat that the pupil cannot often enough practice 
 \h^ port de bras ^ for this forms the basis of all arm movements. 
 (Fig. XXXII.) 
 
 For the Feet. — In Physical Gymnastics we learned the upward 
 and downward tension of the foot-joint, and there is nothing 
 further to add save that it must here be still more light and 
 pleasing. 
 
 Bending and stretching the knee is practiced in all the five fun- 
 damental positions, and always in such a way that the outward 
 turned knee forms a direct line with the toes. In passing from 
 bending to stretching the heel is lifted somewhat to throw the 
 centre of gravity wholly upon the toes. The exercises given in 
 Part II. have prepared us to execute this bending and stretching 
 with ease. 
 
 Under the term battements we understand the striking move- 
 ments of the legs ; two wholly opposite movements making one 
 battement. They are divided into small and great. To practice 
 them correctly, one grasps some fixed object with one hand (per- 
 haps it is a bar at the height of the hips, and made fast to the 
 wall, or the back of a chair, with the seat turned to the wall), and 
 performs the practice with the opposite leg, until he can carry it 
 through standing without support. 
 
 Fetits Battements. — Position : Second position, one foot sus- 
 pended, with the toes indicating the second position, the other 
 firmly sustaining the body. At a two tempo, the suspended foot 
 10 
 
146 ESTHETIC PHYSICAL CULTURE. 
 
 with bended knee strikes into the fifth position before or behind 
 the standing foot, and by quick, energetic stretching, back into 
 the second position, still suspended. The heel must be strongly- 
 pressed forward, the knee outward. 
 
 Grands Batte77ients. — While the small battements are executed 
 only sideward, the great ones are in a threefold way : forward, 
 backward, and sideward. 
 
 Forward battement : The foot standing forward in the fifth 
 position, strikes energetically forward, with stretched (tense) knee 
 as high as possible, and immediately falls back into the fifth posi- 
 tion. It may be remarked here that, in raising the foot, the toe 
 leaves the floor last ; in setting it down, touches the floor first. 
 
 Backward : Like the forward, only that the movement is made 
 with the hindmost foot. This battement, on account of the struc- 
 ture of the body, can be executed only in a limited way. Still, 
 by early practice, a considerable height may be reached. 
 
 Sideward : Like the forward, with the arms held in the second 
 position. 
 
 Ronds dejambe are of two sorts — inner and outer. The sus- 
 pended foot held in the second position, passes the standing foot 
 in a circle, from back to front, or vice versa, so that at the outer 
 part of the circle the toes alone lightly touch the floor, while the 
 heel also does the same near the standing foot. Of course, this 
 can happen only through the active aid of the foot-joint. 
 
 For the Upper Body. — We have treated of turning upon the 
 hips in Part IL as " Turning the Torso." We only add here that 
 this must be practiced in all five positions. In the first and. 
 fourth positions of the feet, the hands are planted at the hips ; in 
 the second, third, and fifth, the arms assume the second position 
 (Fig. XXVII., 4, 4). 
 
 For the Whole Body. — The easy and graceful transition of 
 the centre of gravity from one foot to the other, is called diseji- 
 gaging. It appears especially in the two open positions, the sec- 
 ond and fourth. It is to be remarked that if a disengagement 
 
DANCING. 147 
 
 takes place in the fourth position, in which case the centre 
 of gravity will be transferred from the backward to the forward 
 foot, the former touches the floor only with the great toe, and as 
 the centre of gravity passes from the forward to the backward 
 foot, the latter (the forward foot) touches the floor with the little toe. 
 In our walking backward, in Part I., we have prepared for this 
 movement, and have only to observe greater exactness in respect 
 to the toes. 
 
 6. Single Movements of the Feet Through Which the Dancing Steps 
 are Rendered Possible. 
 
 The Walking Step. — If, in passing forward, backward or side- 
 ways, one transfers the centre of gravity from one foot to the 
 other, he has taken a step. The soldier's " halt " is, therefore, 
 only a downward drawing or " fastening " of the foot after the 
 last step. 
 
 The walking step of the dance is executed in the following 
 manner : After a slight bending of both knees, one foot rises, the 
 heel first, and passes into the fourth or second position, resting 
 upon the toes ; and while the centre of gravity is transferred to 
 this, the heel lightly falls downward. This is the step already 
 referred to in walking upon the stage. 
 
 Besides this simple, common step, there are five others which 
 form the transition to the dance. Klemm names them as follows : 
 
 Les pas balances, the swaying, rocking step forward and back- 
 ward. 
 
 Les pas siir les poi7ites, upon the toes forward and backward. 
 
 Les pas eleves, the lifted, skipping step. 
 
 Les pas satctes, springing forward and backward. 
 
 Les pas soiitenus, slipping, continuous steps forward and back- 
 ward. 
 
 7. Elementary Dancing Steps. 
 
 The changemeiit de pieds (changing of the feet) is a spring in 
 one tetnpo, as a rule, into the third or fifth position. Its execution 
 
148 ESTHETIC PHYSICAL CULTURE. 
 
 in the third and fifth positions happens in the following way : a 
 slight bending of both knees, then a swing of both feet more or 
 less high, and a passing to the original position, with a change 
 of feet. 
 
 If, through much practice, the foot-joint and the toes have at- 
 tained great elasticity, this change of feet may take place without 
 lifting the toes from the floor. 
 
 The assemble is the uniting of both feet from an open to a 
 *closed position in one tempo. Its main condition is that the 
 standing foot should always, after bending the knees, swing up- 
 ward and be set upon the floor directly with the other. 
 
 The glissade is a dancing step composed of two others, the 
 second of which receives the most accent, and the first, as a rule, 
 begins in advance of a bar. 
 
 The glissade is, for the most part, executed from right to left, 
 but it can, like all elementary steps, be executed in all directions. 
 Its manner of execution is as follows : 
 
 Both knees being bent slightly, the right foot sways over into 
 the second position, as if it would step over some object, rests 
 there upon the toes, and draws the other foot after it into the fifth 
 position, while it (the right) lets itself down on its heel. The 
 left foot that slips after, can only be brought before or behind 
 the right one, into the fifth position. 
 
 TheyV//, a step similar to running and springing, is the upward 
 swing of one foot of a closed position, while the other, passing 
 into one of the two open positions, falls back directly into the 
 closed position in one tempo. 
 
 (Let it be remarked here, that in all practice in the third, 
 fourth and fifth positions, the right foot is always supposed to be 
 forward.) 
 
 Execution : Fifth position, during the slight bending of both 
 knees, the left foot, throwing itself sideways and swaying into the 
 second position, falls immediately into the fifth position before 
 
DANCING. 149 
 
 the right foot, while this one, swaying behind the left foot, re- 
 mains in the fifth position. 
 
 The chasse IS the chasing of the one foot of an open position 
 by the other into an again open position in two tetfipi, and 
 is thus executed : Fourth position, centre of gravity upon 
 the left foot. While the centre of gravity is lightly and grace- 
 fully transferred to the right foot, and the left, after a slight 
 bending and consequent light up-swinging of both feet, is thrown 
 back into the third position, the right foot again passes forward 
 into the fourth position. The setting downward of the left foot 
 happens at the first, the setting forward of the right foot at the 
 second tempo. In several successive chasses^ an exchange of the 
 feet naturally takes place. 
 
 In the backward chasse\ if the centre of gravity is on the for- 
 ward foot, it will pass over to the hindmost one, and chase this 
 from its place, which then becomes the foremost. In the side- 
 ward chasse\ the foot to be chassed must stand in the second po- 
 sition. 
 
 The temps de cuisse is a movement in two tempi from a closed 
 position into an up-swinging one, with the two feet falling back 
 upon one foot, so that the one foot is held upward in the second 
 or fourth position, and then falls forward or backward into the 
 fifth. 
 
 Execution : Second position, the centre of gravity upon the 
 right foot, the left suspended and tense. While the right foot 
 bends slightly, the left, with the powerful aid of the upper leg, 
 strikes forcibly backward with the toes into the second position 
 (upon the floor); but in a moment rises again and passes, while 
 the right, in a slight up-swinging and with a short step, springs 
 to the right, into the third or fifth position, before or behind the 
 right foot. A sideward temps de cuisse must always be preceded 
 by dijete, and is then called zephyr step — - i^pas de zephire). 
 
 Tht pas de bourree is a step with three movements. Execu- 
 tion : Fifth position, the right foot rises, with a slight bending 
 
 k 
 
I50 ESTHETIC PHYSICAL CULTURE. 
 
 of the left knee, suspended in the second position, falls backward 
 into the fifth position, raising itself with stretched knees and 
 upon both toes, then drawing the left into the second, and the 
 right into the fifth position. 
 
 All these steps may be executed forward, backward, sideward, 
 in turning, walking, slipping and springing, simple, double, three, 
 four, and manifold tempo (as often as possible), and form, in this 
 way, the art of dancing. 
 
 8. Composite Independent Steps. 
 
 Besides these seven fundamental steps, a knowledge of two 
 others is necessary — the echappe and the/^i- de basque. 
 
 The echappe is really a fundamental step, but as several echappes 
 in succession may be formed only if an assemble takes place be- 
 tween any two, we call it a composite independent, but not a 
 fundamental step. It is the simultaneous up-swinging of both 
 feet out of a closed position into an open, upon one tefnpo. Its 
 execution is as follows : For example, Fifth position, after the 
 preparatory bending (bowing), both feet swing upward from the 
 floor, and fall into an open position. 
 
 Tho, pas de basque is composed of two steps and a closing one, 
 to be executed in two tempi. It can be executed in all direc- 
 tions. The forward execution requires the fifth position. In 
 advance of the bar, bending of both knees, and throwing the 
 right foot into the fourth position ; hereupon the left foot passes 
 lightly and gracefully, both knees again being stretched, past the 
 right foot into the fourth position, assumes the centre of gravity, 
 and immediately the right foot closes into the fifth position, and 
 dipas de basque is ended. If several succeed one another, the left 
 foot must naturally be placed into the fourth position. 
 
 Backward. — The same steps, only in the opposite movement. 
 The left foot, standing behind in the fifth position, begins, while 
 it falls into the fourth position ; the right goes backward past 
 this into the fourth position, and the left immediately closes into 
 the fifth position before the right foot. 
 
DANCING. 151 
 
 All other steps occurring in the art of dancing are variations 
 of these seven fundamental steps. To explain them is foreign to 
 the purpose of our book. 
 
 p. The Minuet as a School for Compliments. 
 
 The minuet is a dance of two persons, moving in slow, digni- 
 fied, walking steps. It is of French origin, was carried to the 
 highest perfection under Louis XIV. and Louis XV., and has 
 now entirely vanished from the array of society dances. 
 
 In the last century, a knowledge of the minuet was indispen- 
 sable for every cultivated person. All movements of the body, 
 especially those of the feet and arms, required at court or in 
 polite assemblies, consisted in those of the minuet. Every cere- 
 monial bow must be the ^' reverence " of the minuet. It was, 
 therefore, the school of fine manners. 
 
 It cannot be denied that the product of this school was an ex- 
 aggerated etiquette — even a painful stiffness — which, thank 
 heaven ! has vanished from the circles of the present day ; but, 
 on the other hand, it cannot be denied that, for this very reason, 
 outward decorum has suffered. 
 
 If we would learn the manners of good society in modern days, 
 we can do no better than to learn them through the minuet ; for 
 this still forms, and always will, the basis of all tournure. 
 
 To describe the minuet in its infinite, various forms, would be 
 against the purpose of our book. We have here to treat only of 
 a part of it, that which preceded every minuet, the "reverence." 
 
 10. Compliment — Reverence. 
 
 A salutation without words, that is, a mere more or less profound 
 bowing of the body, is called a <:<?;;////>^^/^/. The second signifi- 
 cation of the compliment, to say a polite or pleasant thing to 
 some one, does not come within our province. 
 
 We make this distinction of dates : The compliment (saluta- 
 tion) of ancient times, the compliment of the middle ages, the 
 
152 ESTHETIC PHYSICAL CULTURE. 
 
 compliment of the seventeenth and eighteenth centuries, and the 
 modern compliment. 
 
 The Co77ipliment of Ancient Ti7nes. — This had two degrees : 
 (i) the friendly greeting ; and (2) the ceremonial (polite) greet- 
 ing, the sign of high respect and reverence. The first degree 
 was shown by a slight step forward, the head being somewhat 
 bowed, and the inclination of the body but slight. Here one 
 arm, with the palm of the hand upward, approaches the object, 
 while the other remains passive, or is placed in protestation (of 
 regard) upon the breast. This was the friendly greeting of an- 
 cient times, as represented in bas reliefs. If this were trans- 
 formed into a polite (or ceremonial) greeting, the head of the 
 woman bowed more deeply than that of the man ; the greeting 
 arm was more outstretched, and the knees bowed more deeply. 
 With a man the head remained more erect, the neck more stretched 
 forward, the glance fixed upon the highly respected object, and 
 the knee of the backward leg bent more than the forward one. 
 
 The Mediceval Co7nplinient. — This consisted in bending the 
 knee, and had three degrees : 
 
 (i) An entire falling upon the knees, as the highest degree of 
 reverence and salutation (Fig. LXVIII.). (2) The bending of the 
 one knee (Fig. LXIX.). It is thus executed : One walks forward 
 sideways, with one foot or the other (here in Fig. LXIX., with 
 the right), assuming the centre of gravity, and while with the other 
 foot (here in Fig. LXIX., the left) he goes in a line slightly bent 
 outward to the designated point, the inclination takes place. 
 (3) The mere bowing of the body with one foot set back upon 
 the toes (as in Fig. LXX.). 
 
 In all three gradations, we find the same movement of the 
 right hand, the laying it upon the breast ; but in an entire falling 
 upon the knees in passion, the right hand is outstretched to the 
 one saluted, in token of the fullest reverence and veneration, as 
 the sign of unconditional submission. (See Fig. LXVIII.) Still 
 this is not indispensably necessary ; the hand may lie as in 
 
DANCING. 
 
 153 
 
 Fig. LXVIII. 
 
 Fig. LXIX. For position of fingers of the right hand, we refer 
 to Fig. XXXIX. 
 
 The lady has just the same to do. A modern compliment 
 would be entirely wrong. 
 
 After this brief description of the mediaeval compliment, it 
 must occur to every one how senseless it is, when we see upon 
 the stage, a mailed knight, a true mediaeval figure, pay the mod- 
 ern compliment, or a castle lady execute the reverence of the 
 rococo age. Thus, for instance, in " Don Carlos," and similar 
 pieces, no compliment must be made, but falling on the knees, 
 according to the necessary gradations. 
 
 The Compliment of the Seventeenth and Eighteenth Centui'ies (in 
 France, the Regime of Louis XIV., XV., and XVI.). — In this 
 age we find the compliment in its highest cultivation ; it preceded 
 every minuet, and had two gradations : 
 
 (i) The Great Reverence. 
 
154 
 
 ESTHETIC PHYSICAL CULTURE. 
 
 Fig. LXIX. 
 
 (2) The Little Reverence. 
 
 The execution (strictly in time, even if no music was at hand) 
 demanded twice as much time in the first degree as the last. 
 
 The Great Reverence for Gentlemen. — The right or left foot 
 (the right in the minuet) passes, after a slight bending of both 
 knees in advance of the bar, into the second position, taking up 
 the centre of gravity. The other (in the minuet, the left) foot 
 will be slowly drawn over into the first position, while the body 
 bends forward. During these times, the right hand of the gen- 
 tleman (if it does not hold the hand of the lady) grasps the 
 hat resting under the left arm, and passes into the movement of 
 salutation, to the right side. (Fig. LXXI.) Now follows the 
 return of the body to its erect posture, while the left foot, after 
 a slight bending and stretching of both knees, takes a step back- 
 ward into the fourth position upon the toes, and then upon the 
 heel, assuming the centre of gravity, and the right hand has car- 
 
DANCING. 
 
 155 
 
 Fig. LXX, 
 
 ried the hat back, under the left arm, to its former place. 
 (Fig. LXXII.) Then the foot, standing forward in the fourth posi- 
 tion, is again drawn over into the third position, and the right 
 hand is again brought to the right side. 
 
 In the minuet, if the gentleman holds the lady with his right 
 hand, the hat naturally remains quietly under the left arm. 
 
 The bowing itself must take place in the following way : The 
 head inclines forward and draws the shoulders slowly after it ; 
 but if the bowing takes place from the waist, the upper and lower 
 body forms an obtuse angle, which must not happen, as it is always 
 the sign of awkwardness. In again rising erect, head and glance 
 give the impulse. 
 
 Before princes, and in the presence of persons of high rank, 
 
156 
 
 ESTHETIC PHYSICAL CULTURE. 
 
 Fig. LXXI. 
 
 the bow is more significant ; still it must not be supposed that 
 greater reverence is expressed by too profound bowing. A 
 slower inclination, with a slower drawing on of the foot, and a like 
 slowness in resuming the erect attitude, is the sign of great 
 respect. 
 
 The Great Reverence for Ladies. — This, always begun in the 
 third position, is a deep bending of both knees, with erect upper 
 body (the characteristic of this compliment), a stepping back- 
 ward upon one foot, and resuming the erect attitude. 
 
 It is thus executed : After a slight bending and stretching of 
 both knees, the right or left foot (in the minuet, the right) passes 
 
DANCING. 
 
 157 
 
 Fig. LXXII. 
 
 into the second position, assuming the centre of gravity, while the 
 other is drawn over into the third position ; then deep bending, 
 the upper body held erect (Fig. LXXIII.); then stepping back 
 upon one or the other foot (in the first reverence of the niinuet 
 upon the right), during which a slight inclination of the body 
 takes place, and which already nappens in rising (Fig. LXXIII., a) 
 and a drawing on of the forward standing foot into the third 
 position. (Fig. LXXIII., d.) 
 
158 
 
 ^ESTHETIC PHYSICAL CULTURi^. 
 
 Fig. LXXIIL 
 
 The index finger and thumb hold, meantime, both sides of the 
 dress, drawing it gracefully away from the body ; in the minuet, 
 only the right hand holds the dress, while the left is reached to 
 the gentleman. The manner of holding the fan is shown in 
 Fig. LXXIIL 
 
 The deeper and slower the bowing, the greater the respect. 
 
 To make the ladies' reverence in such a way that, in bowing, 
 the upper part of the body bends forward, is especially false. 
 
 If the lady stands in an open position, she must first step into a 
 closed (the third), and then the reverence begins. 
 
 The Little Reverence for Gentlemen. — The right or left foot 
 (without a previous bending and extension of both knees) passes 
 into the second position upon the toes, then upon the heel, as- 
 suming the centre of gravity. Then the other foot will be drawn 
 into the first position, while the bowing itself takes place. 
 
DANCING. 
 
 159 
 
 Fig. LXXIII. a. 
 
 The Little Reverence fo?^ Ladies. — Like the great reverence, 
 only without the slight bending and stretching of both knees, and 
 the consequent steps sideward, beginning in the closed position, 
 with the deep bow, the upper body being held erect, and stepping 
 back on one foot or the other, etc. 
 
 The Little Reverence (sideway). — For gentlemen, this is like the 
 great reverence, only with the difference that, at the outset, the 
 foot to be set into the second position is here (while turning the 
 body) placed sideward-backward upon the toes, then upon the 
 heel, assuming the centre of gravity ; by drawing on the other 
 foot and bowing, the compliment is executed. 
 
i6o 
 
 ESTHETIC PHYSICAL CULTURE. 
 
 Fig. LXXIII. b. 
 
 If ladies have to make the Httle reverence sideward, the prepar- 
 atory step must like wise be taken sideward-backward, with a 
 turning of the body ; thus the other foot will be drawn into the 
 closed position, and the low bowing, etc., follow. 
 
 These are the main compliments before one person. If several 
 are to be greeted, little changes enter, which, with gentlemen and 
 ladies, are as follows : 
 
 Reverence before Several Persons Standing in a Half -Circle. — 
 The simple reverence: The drawing forward of the foot and hew- 
 ing in gentlemen, the bending and setting back of the foot in 
 
DANCING. l6l 
 
 ladies, must take place more slowly, while glance and body, which, 
 at the beginning of the reverence, are fixed upon the first person, 
 while the bow takes place, turn slowly ahd in a dignified manner 
 to the last person of the semi-circle, where the bow ends, the up- 
 right position being resumed by a slight turning back to the 
 middle of the semi-circle. 
 
 In glancing from left to right in the semi-circle, with gentle- 
 men, the left foot must step into the second position, and the 
 right be drawn after it ; with ladies, after bowing, the right foot 
 must be set back. In glancing from the right to the left, the 
 order is reversed. 
 
 The double reverence : If two compliments are to be made in 
 succession (the one to the right, the other to the left), a turning 
 of the body upon the ball of the foot must take place between 
 those to whom the bower turns. Naturally with gentlemen, at 
 the beginning of the second compliment, the foot nearest the side 
 takes the second position, and with ladies, if, at the first compli- 
 ment, the left foot had stepped back, now, after bowing, the right 
 foot steps back. 
 
 The Little Reverence upon Arrival. — This is like the main com- 
 pliment. The gentleman has only to observe that the last step 
 in arrival is somewhat slower and sideway-forward, instead of 
 forward ; it will serve as the first step of the beginning compli- 
 ment, upon which the drawing forward of the other foot, and the 
 bow itself, follow. 
 
 The lady walks to the point where she has to make the com- 
 pliment in the third position, and immediately begins the compli- 
 ment with a bow. If the great reverence is to be made upon 
 arrival, the lady and gentleman pass in a direct line to the place 
 where it is to be executed. 
 
 The Little Reverence, at Departure, for Gentlemen. — The com- 
 pliment itself is like the main compliment, only it is preceded by 
 one step backward, while the second, instead of following in a 
 direct line, passes sideward -backward into the fourth position ; 
 II 
 
l62 ESTHETIC PHYSICAL CULTURE. 
 
 now, as in the main compliment, follow the drawing on of 
 the other foot, and the bowing. The third step now succeeding 
 may (if the space is large enough) take place upon a direct 
 line backward, without turning. If this is not the case, it is made 
 with turning toward the exit ; not a full, but a half turn, and now 
 follow, as space allows, one or two steps to complete the turn. 
 
 The great reverence is likewise preceded by one step back- 
 ward, followed by a drawing on of the foremost foot into 
 the first position, and at once begin the slight "bending and 
 stretching " of both knees, the sideward stepping into the second 
 position, etc. 
 
 The Little Reverence^ at Departure^ for Ladies. — This likewise 
 demands a step backward, and a drawing of the foremost foot 
 again into the third position. Now begins the deep bending 
 without stepping sideward, then stepping back, etc. The great 
 reverence is made with stepping sideward. 
 
 After the compliment, there is likewise one step backward, 
 which is the continuation of the drawing back of the foremost 
 foot, which has at once passed by the standing foot back into 
 the fourth position. The turning is as with gentlemen. 
 
 These are the compliments which all, more or less, are to be 
 executed like the main compliment. Whether the great or little 
 reverence is to be made, depends always upon the person to be 
 saluted as well as upon the situation. Exalted persons, grave 
 situations, demand the great reverence. 
 
 Reverence at Meeting in Walking. — For Gentlemen and 
 Ladies. — Before one person: The head and upper body are 
 slightly turned toward the person to be greeted, while the walk 
 becomes slower, but does not cease ; while the foot upon this 
 side slides a little out of the direct line of walking until one is 
 past. In the salons of the rococo time the waving of the hand 
 with the hat, as described in the minuet, followed, and removing 
 the hat when in the open air. 
 
DANCING. 163 
 
 Before a prince, one steps aside, halts, then *' makes front," 
 and salutes him. 
 
 Before several persons : If one walks past a row of persons, 
 sitting or standing, the same rule will be observed ; only with the 
 difference that both feet pass into the glisse step, until he is 
 past. 
 
 Passing between two rows : If one passes between two rows, 
 he must, alternately, with the right and left foot, execute the 
 glisse step, until he is past, and at each change of foot turn to 
 those he would salute, as before described. 
 
 Reverence in Sitting. — For Gentlemen and Ladies. — This ap- 
 pears only in the society of friends and familiar acquaintances, 
 or if, in sitting at table, something is reached to us, and we can- 
 not rise ; also, when princes or persons of high standing greet 
 those of lower rank. • 
 
 It consists of a mere bending of the upper part of the body and 
 head, with a corresponding glance, the bow being more or less 
 deep, according to circumstances, but not a mere hasty nod, 
 which is allowed only by the highest degree of familiarity. 
 
 Whether the actor has to make the great or little reverence, 
 must be left to his own decision. 
 
 The Modern Compliment. — Our time has certainly much sim- 
 plified the compliment, but if we lay any claim to culture, we 
 must not go so far as to let a mere drawing together of the 
 heels, with a slight, superficial bow, pass as a compliment. Our 
 compliment, both with ladies and gentlemen, is the little rever- 
 ence of the rococo age ; still with a slight variation. The lady no 
 longer takes hold of her dress to draw it aside somewhat ; she no 
 longer bows so profoundly, or with an erect position of the upper 
 part of the body, but with simultaneous bending ; this principally 
 distinguishes it from the rococo compliment. 
 
 The gentleman lets his hands hang easily at the side, accord- 
 ing to the mere law of gravity. (Fig. LXXIV.) 
 
164 
 
 ESTHETIC PHYSICAL CULTURE. 
 
 Fig. LXXIV. 
 
 This is our main compliment of modern times. In all other 
 respects, we observe to-day the precepts of the rococo age. 
 
 We must not neglect to warn against that jerky, backward 
 movement, which robs the compliment of all significance. In the 
 age of the minuet, such a warning would have been superfluous^ 
 as every cultured person had the time in feeling, if not in music, 
 and paid heed to it. 
 
 A slight pause must ensue between the bowing and the rising 
 erect again. 
 
DANCING. 165 
 
 To execute the modern gentleman's compliment, without 
 having first stepped with one or the other foot into the second 
 position, that is, in the first or third, is altogether wrong. 
 
 If the gentleman already stands in the second position, he 
 passes with one foot into the fourth position (using this advance 
 as the preparatory position — for the compliment must not 
 be made without preparation ; and if the space is limited, the 
 step must be made shorter), and then draws the other foot into 
 the first position. 
 
 If the lady stands in the second or fourth position, she draws 
 one foot past the other into a closed (third) position, and now 
 makes the bending, etc. 
 
 If the gentleman stands in the fourth position, he passes with 
 the foremost foot into the second (for the sake of preparation), 
 and draws the other into the first position. 
 
 The various gestures with which a silent bowing can be 
 accompanied, belong to special mimic art, with a description of 
 which our book has nothing to do. Here let it only be remarked, 
 that those hand-movements so constantly recurring especially 
 upon the stage, as if one would reach something to the person 
 greeted, are altogether inadmissible, and, at most, may be used 
 by persons of high station, when they would show a sort of 
 friendly condescension or good will to those of lower station ; or 
 if a princess greets those around her, in which case, she makes 
 the accompanying gesture with her fan, or merely with the hand. 
 It is also allowed in familiarity, but never in a person of lower 
 toward one of a higher rank. 
 
PART FIFTH. 
 
 THE ART OF FENCING. 
 
^■<^^ OP THR - 
 
 (TJlTiyEIlSI'] 
 
 CHAPTER I. V^ 
 
 
 THE ART OF FENCING. 
 
 Among all physical exercises there is none that gives the body 
 so much strength and skill, as well as certainty, and imparts to all 
 the muscles a more equable movement, and so promotes health, 
 as the art of fencing. It improves the manly form and the ex- 
 pression of tjie face, and awakens in the young greater energy 
 and caution than they perhaps naturally possess. 
 
 Bayonet, spear, and lance do not belong to our domain ; we 
 have to do here only with the sword, and indeed only with the 
 rapier (foil). 
 
 THRUST FENCING. 
 
 To avoid all danger in practice, the real sword is replaced by 
 the foil, the face covered by a wire mask, the hands by well-lined 
 gloves, and the upper body, to which alone all the strokes are 
 directed, protected by a stout jacket, the collar and right side of 
 which are of leather. The foil is a circular or quadrangular 
 rod or blade of pliable, highly tempered steel, thirty-one to thir- 
 ty-eight inches in length, blunted and covered with leather at 
 the point. 
 
 The foil is divided into two parts, offensive and defensive. The 
 first, measured from the point to the middle, is called the ^*weak 
 part," and is the offensive part ; the second, measured from the 
 middle to the handle, is called the "strong part," and is the de- 
 fensive part. 
 
 The Measure, 
 
 When two. fencers stand opposite each other ready for conflict, 
 their distance apart is called the measure. This is the correct 
 position when the sword-blades cross each other in the midst. 
 The distance is then so great that by a mere extending of the 
 
170 ESTHETIC PHYSICAL CULTURE. 
 
 arm, each adversary only touches the breast of the other with the 
 point of his foil, and could only thrust him through by a thrust 
 with the normal sally. 
 
 If the rivals stand nearer each other, so that a thrust might 
 take place without the sally, or without any other forward move- 
 ment, the measure is called shortened ; and if they stand so far 
 apart that the thrust is possible only by means of an exaggerated 
 sally by a rush or spring, the measure is called extended. The 
 fencers stand outside the limits if the distance from each other is 
 greater than that last mentioned. 
 
 The breast side of the two fencers is called the inner; the 
 back, the outer. 
 
 If one imagines a middle line of the body from the aggressor 
 and defendant to the feet, and the point here where each touches 
 the ground united to the other by a direct line, this line is the 
 fencing-line^ and its vertical plane is the norvadiX fencing -plane. 
 
 Place and Position. 
 
 The first movement the beginner has to learn is the funda- 
 mental position, known as the defensive attitude. 
 
 On account of the arm bearing the weapon, this is called the 
 central OT primary position, or more plainly, the advance. From 
 this position arise all movements, aggressive and repellent. This 
 attitude consists of two positions : — 
 
 First Position. 
 The pupil takes his place, himself erect with extended knees, 
 the feet at right angles, heel to heel, the right foot, the right side 
 and face turned toward the teacher. The body must be held 
 firm and erect, the arms hanging lightly and easily at the sides, 
 the left hand holding the foil a few inches below the handle. 
 Then he places the right hand across the body, and grasps the 
 handle of the foil as the first movement (see Fig. LXXXL, i) ; 
 as the second movement, he lifts the foil, holding it with both 
 
FENCING. 171 
 
 hands, the hands separating as they rise until the arms extend 
 outward above the head. (Fig. LXXXI., 2, 3.) Here he pauses 
 a little. This is the first defensive position. 
 
 Our Physical Gymnastics have taught the pupil to move his 
 arms independently of the body, to expand the chest and throw 
 back the shoulders ; a necessity in this position. 
 
 Second Position. 
 To assume the second defensive position, the right arm with 
 the foil falls directly downward until its elbow is raised a little 
 above the waist, the lower arm and the foil standing in an oblique 
 upward direction, so that the point of the foil is on a line with the 
 outward eye of the adversary, or on one between both eyes. The 
 hand meantime lies with the nails upward. In this movement the 
 left arm must pass to the left as far as in Fig. LXXV., so that the 
 
 Fig. LXXV. 
 
 inner surface of the hand with extended fingers lying close to 
 each other, is turned toward the ear. At the same time, the 
 right foot steps about twenty inches out m the fencing line, and 
 so that the knuckles and knee form a perpendicular line, while 
 
1/2 ESTHETIC PHYSICAL CULTURE. 
 
 the knee of the left leg must extend somewhat beyond the toes of 
 this foot. 
 
 In like manner the hip and shoulder lines of the torso, held 
 quite erect and resting upon the left foot, must be exactly within 
 the fencing-plane, and the head be borne erect. The fingers 
 must certainly hold the foil firmly but not convulsively, else 
 weariness may easily ensue, and the finer feeling for action 
 be lost. The index finger, somewhat bent, is placed on one side 
 of the parrying bar, but the thumb is placed on its other side, 
 perpendicularly with the blade, which it still must touch. 
 
 These are the two defensive positions which follow in two 
 tempi. In this position the fencer receives and gives all thrusts. 
 (Fig. LXXV.) 
 
 If, in fencing, there is a sudden transition from right to left, 
 that is, a forward change in defense, one throws quickly the weight 
 of his body upon the foremost foot, turns upon its heel, and brings 
 the hindmost foot and shoulder forward into the fencing-plane, 
 while, at the same moment, he grasps the foil with the left hand, 
 and immediately brings the arm into the right position. If the 
 change of the defense takes place backward, he turns upon the 
 heel of the hindmost foot. 
 
 Attitude of the Hafid. 
 
 The two main attitudes, which the armed hand has to take, are 
 CdXX^di primary (see defensive attitude. Fig. LXXV.) and secondary. 
 The first is that already described in the defensive attitude ; the 
 latter is the reversed position of the hand, the nails inward, and 
 so secure that the hand at the wrist forms ^ little angle down- 
 
 FiG. LXXVI. 
 
FENCING. 
 
 173 
 
 ward, the point of the foil being turned downward as much as it 
 is turned upward in the primary position. (Fig. LXXVI.) 
 
 Thrusts are always made in these attitudes ; for parades there 
 are three other attitudes : (i) The third, in which, as in the sec- 
 ond, the nails are turned inward, but the wrist-joint forms no 
 angle downward, but, as in the first, remains with the blade turned 
 outward. (Fig. LXXVII.) (2) The fourth is like the first, only 
 
 Fig. LXXVII. 
 the hand-joint forms a slight inner angle. (Fig. LXXVIII.) 
 
 Fig. LXXVIII. 
 
 (3) The fifth, like the fourth, with this difference, that the wrist- 
 joint, as in the second, forms a downward angle, and the point of 
 the foil is turned downward. (Fig. LXXIX.) 
 
 m^ 
 
 Fig. LXXIX. 
 
 As soon as the fencers enter the measure opposite each other, 
 they must at once begin the engagement ; that is, they must 
 
174 ESTHETIC PHYSICAL CULTURE. 
 
 cross blades with edges close but without any mutual pressure, 
 and that upon their inner side. 
 
 FENCING MOVEMENTS. ' 
 
 We divide these into foot, arm and weapon movements. 
 (Thrust, parade and feint movements.) 
 
 The Foot Movement. 
 
 1. The onset-movement is a quick raising and a decided setting 
 downward of the foremost foot, several times repeated, while the 
 centre of gravity rests entirely on the firmly placed hindmost 
 foot. Meantime the upper part of the body remains in perfect 
 repose. More belonging to the practice of fencing as a means 
 of attaining a secure defensive position, it also appears in fenc- 
 ing as a means of irritating the adversary ; but it must not, as in 
 practice, be a real stamping, but a slight and not too often re- 
 peated movement executed only with the toes. 
 
 2. The revolution takes place with a simultaneous turning of the 
 upper part of the body upon the heel of the hindmost foot, and 
 a swaying of the foremost foot. 
 
 3. The sally takes place as follows: — The foremost (right) 
 foot takes a rapid step forward, the upper body following unbent 
 while the hindmost (left) foot remains firm but* extended in its 
 place. The sally is the most important movement, and very dif- 
 ficult in execution, because a thrust is always connected with it. 
 It is well for pupils to practice it first with the feet, the arms re- 
 maining planted in the hips ; and to take later the practice for 
 arm-movements, as it will be given in our " Primary Thrust." 
 
 The erect or return movement in the defensive attitude takes 
 place by means of a powerful wrench of the body, a decided 
 drawing back of the foremost and a bending of the hindmost 
 foot, with the upper body erect, following immediately upon a 
 thrust. 
 
 In this movement everything depends upon its being performed 
 with ^;/^ stroke, as skill in resuming quickly the defensive attitude 
 
FENCING. 175 
 
 enables the fencer to parry in a moment the thrust of his rival, 
 in case his own attack has failed. 
 
 4. The step forward and backward (also called the advance), 
 takes place while, without allowing the upper part of. the body to 
 lose its defensive attitude, the right foot is shoved forward a 
 hand's breadth, and at the moment when it touches the floor, lets 
 the left foot take its place. 
 
 The step backward (also called the retreat) takes place in a re- 
 versed way, the rear (left) foot making the first movement 
 toward the rear. The object of these two movements is to gain 
 ground, or to relinquish it without even for a moment losing the 
 defensive attitude. They are also used as feints to bring the 
 rival from his place and to deceive him. In practice they are 
 not used often in succession because when a larger ground is 
 covered another step is employed called the passade. 
 
 5. The passade takes place in two tempi. At one, the hind- 
 most (left) foot steps a hand's breadth before the foremost 
 (right) foot, while this, turning upon its heel, turns the toes some- 
 what outward, so that both soles form a right angle. At two, 
 the right foot, remaining exactly in the fencing-line, moves for- 
 ward a shoulder's breadth, while the left, by a slight turn upon 
 the ball, forms a rectangle at the jight, so that the defensive at- 
 titude is resumed only a step in front of the original place. 
 
 T\\^ passade march ensues when \y\^ passade is executed several 
 times in succession. The backward /^^-i-^^^ follows in like man- 
 ner, only with a reversed movement of the feet. 
 
 Facility in all these movements must have been acquired by 
 practice, before passing on to others. The pupil must not be- 
 come disheartened at their difficulty, for they are the foundation 
 of the art of fencing. 
 
 THRUSTS. 
 
 Thrusts are primary and secondary ; and these are again di- 
 vided into backward and forward (or feint thrusts), double and 
 simultaneous. If the one attacked makes a thrust before the ag:- 
 
176 ESTHETIC PHYSICAL CULTURE. 
 
 gressor can resume his defensive attitude, it is called an after- 
 thrust. If one of the fencers only outlines a thrust, but makes a 
 real one immediately after, it is called a forward (mock or feint) 
 thrust. Double and simultaneous thrusts are what their name 
 signifies. If one makes a thrust twice in succession without re- 
 suming the erect position after the first, it is called a double 
 thrust. Simultaneous thrusts are those when both fencers strike 
 at once. 
 
 If the defender, by a mere extending of his arm and weapon, 
 without a sally, lets the hotly advancing assailant rush as it were 
 upon his foil's point, this is called an arret-thrust. 
 
 The thrust will usually delicately graze the rival blade, but 
 there are circumstances when forced thrusts occur in which a 
 hard-onset on the rival blade takes place with a pressure of one's 
 own weapon. 
 
 It is customary for rivals to attack in the right side (from 
 within), but there are cases when it is advisable to attack a rival 
 from without (in the left). 
 
 Two men standing opposed to each other, must observe at the 
 first glance, that two points of attack stand open to them : 
 namely, the inner space of the sword and the outer, and indeed 
 these only. But in fencing, these are again divided into the 
 points above and below the hand, as well for the outer line as the 
 inner one. This gives four points of onset, or to speak more 
 plainly, four unguarded points upon which the rival can be at- 
 tacked. To cover these four points, there are four defensive 
 movements, called parade movements, of which we shall treat 
 later. 
 
 The Primary Thrust. 
 
 The primary thrust proceeds immediately from the guard atti- 
 tude with sally, in the following manner : The right arm, at the 
 moment of the sally, is extended from the height of the shoulder, 
 in a horizontal direction, while the point of the foil is energeti- 
 cally pushed toward the goal. At the same moment when the 
 
FENCING. 
 
 177 
 
 foremost (the right) foot steps forward and the thrusting move- 
 ment begins, the left hand falls at the left thigh, still a few inches 
 from it, and the left leg is extended. The foremost (right) side, 
 shoulder, knee and toes, forms a perpendicular line, while the left 
 side, from shoulder to foot, forms a straight, oblique line. (Fig. 
 LXXX.) This thrust is applied to upper as well as inner and 
 outer thrusts. 
 
 Fig. LXXX. 
 
 We have seen in the sally how the erection to the defensive at- 
 titude proceeds with the feet and torso ; we have to add in rela- 
 tion to the arms : The hindmost (left) arm rises quickly to its 
 required height in the defensive attitude ; the foremost (right) is 
 drawn backward quickly, so that the whole body again resumes its 
 defensive attitude. 
 
 The pupil will do well to divide, in exercise, the thrust into 
 two tempi. At one, extending of the arm ; at two, onset. In 
 practice both fall into one tempo. 
 
 The Secondary Thrust 
 Consists in extending the arm, a turning of the fist from the 
 primary to the secondary, and sally. This, in practice, again 
 12 
 
178 ESTHETIC PHYSICAL CULTURE. 
 
 takes place in two tempi. This thrust is applied in lower thrusts 
 when the one attacked, holding his fist too high, thereby leaves 
 his lower body unprotected. (See second attitude, Fig. LXXVI.) 
 
 The Parades. 
 Simple Parades. 
 
 We have learned, in regard to the thrusts, that there are four 
 unprotected points at which the fencer may be attacked ; to cover 
 these there are four defensive movements called " Parades." As 
 the prime or central attitude deviates from the normal one, above, 
 below, or sideway, the form of the parade will vary ; and the 
 parades are designated as second, third, fourth and fifth. Third 
 and fourth protect against upper, second and fifth against lower, 
 third and second against outward, fourth and fifth against inner 
 thrusts. 
 
 The form of the parades depends upon the attitudes of the 
 fist, which we have accurately described. The arm must be ex- 
 tended. 
 
 The parades must always be executed firmly and decidedly, 
 but never with a sideward-push of the hostile foil. 
 
 Counter parades. 
 
 Every simple parade has its counter-parade. The attitude of the 
 hand is as in the simple parade, only with this difference, that 
 the foil describes a full circle ; that is, at the " counter-fourth " 
 the hand remains in the fourth position, while the weapon, pass- 
 ing down from the inside up to the outside, reaches the place 
 whence it started. 
 
 All other counter-parades have the same course ; if we know 
 one we know all. 
 
 The feints, in the narrow sense of the word, are only decep- 
 tive, specious movements, by which the two-fold contest is carried 
 on ; every fencer seeks to entice his opponent into an uncovered 
 position, prepares, modulates and delivers his thrusts. 
 
FENCING. 179 
 
 The following movements are to be designated and elucidated 
 as feints : 
 
 1. Tht d^gagement ox d^gage, 
 
 2. The double, 
 
 3. The coup^. 
 
 I. The Degagement. 
 
 In this attack the foil-point of the aggressor sinks under the 
 blade of his rival, and passing close under it, rises on the oppo- 
 site side ; at the same moment his arm is extended and the thrust 
 made. If the thrust is not made, if the foil-point passes at once 
 back the same way to its original position, this is called the 
 double-dSgage. 
 
 The degagement, simple as well as double, is very often em- 
 ployed, especially in the beginning of fencing, to bother the rival 
 and entice his weapon from the right position. 
 
 2. The Double 
 
 Is very simple in its application, but endlessly effective. It 
 differs f roKn the double degagd in this respect : the latter is only 
 a to-and-fro ddgage, while the former goes on to complete an en- 
 tire circle. But this is to be done only when the defendant, after 
 the first degagement, follows in the same direction. If this hap- 
 pens many times, a circling of blades round each other takes 
 place until a. thrust follows. 
 
 3. The Coupe. 
 
 Differs from the degage in this way : The aggressor, instead of 
 thrusting his foil from the inside out under the hostile blade, by 
 bending the fist passes before its point into the d^gags. 
 
 Compliment of Arms. 
 It is customary before beginning the sally for the fencers, as 
 well as the seconds, to salute each other. It is done in this way : 
 After the fencers have taken places opposite each other accord- 
 
i8o 
 
 ^ESTHETIC PHYSICAL CULTURE. 
 
 ing to the rules laid down, the teacher gives the following 
 commands : — 
 
 1. Present the hand to your adversary ! 
 
 While the left hand quietly holds the foil at the side, the 
 fencer with his right, gracefully salutes his rival. 
 
 2. Hand to the sword-handle I 
 
 According to rules for first position (See Fig. LXXXI., i.) 
 
 3. Draw the weapon over the head ! 
 
 As in Fig. LXXXI., 2, 3. The dotted arms over the head. 
 
 Fig. LXXXI. 
 
 4. Defensive position ! 
 
 According to description of second attitude (Fig. LXXV.) 
 
 5. Two appels ! 
 
 See Part Fifth, appel-sit^. 
 
 6. Open arms! 
 
 (See Fig. LXXXI. The outstretched, dotted arms.) 
 
 7. Measure y or in line. 
 
FENCING. l8l 
 
 One fencer falls out of line until he almost. touches the breast of 
 his rival (See Fig. LXXX.), but with the foil held horizontally. If 
 the rival stands too far away, he steps up to the point ; if he stands 
 too near, he steps, (carefully covering his retreat) backward. 
 
 8. Salute fourth ! 
 
 The hand movement of No. i will now be made with the foil 
 to the second, toward the outside of the opponent, as in Fig. 
 LXXVIII. 
 
 9. Salute third! 
 
 (See Fig. LXXVII.) To the inner side of the adversary. 
 
 10. Salute both! 
 
 The fencers salute in fourth (Fig. LXXVIII.). 
 
 11. Turn the hand in third ! 
 
 The hand is turned from the fourth to the third position. (Fig, 
 LXXVII.) 
 
 12. Ramassement ! 
 
 Hands as in Fig. LXXXL, and without pause, drawing the 
 weapon over the head, (Fig. LXXXI, 2, 3.) 
 
 13. Defensive position ! (Fig. LXXV.) 
 
 After a longer or shorter salutation the contest begins. These 
 salutes with weapons must be elegantly carried out. The spec- 
 tator then has the feeling that two really skilful fencers are 
 
 engaged. 
 
 General Advice. 
 
 1. Never look at your own foil, but keep a sharp watch over the 
 eye and hand of your antagonist. 
 
 2. The foil-point of the aggressor must always be nearer the 
 rival, than the latter's foil-point to him (the aggressor). 
 
 3. Attack always at the required distance so that the rival 
 may have no mischance to complain of. 
 
 4. Keep always the right line if you would not offer too many 
 exposed points to the rival's sword. 
 
 5. After all, the main thing is — cool blood. 
 
PART SIXTH. 
 
 MAIN PRINCIPLES OF DRESS. 
 
CHAPTER I. 
 MAIN PRINCIPLES OF DRESS. 
 
 Nature is everywhere harmonious, but the greatest harmony 
 meets us in the human figure. It is, therefore, our task not to 
 distort the form of the human body by dress and adornment, but 
 to allow it to reach its fullest development. Whatever the de- 
 mands of fashion may be, the finely cultured man or woman may 
 not be absolved from this duty. One will not slavishly follow the 
 mode, but with fine tact take away here, add there, and 
 especially consider what best suits his individuality, and what 
 in color suits his complexion or temperament. To the woman 
 falls a task far more difficult than that of the man ; for, while the 
 woman may beautify her appearance, by the cut and arrangement 
 of her dress, by ornaments, ribbons, plumes, and especially by 
 manifold colors, the man of our century is confined to a simple 
 and restricted dress with little choice of color. 
 
 Woinans Dress. 
 
 We say that the greatest harmony meets us in the human form* 
 Here are symmetry, order, proportion, animated variety, perfect 
 blending of all the parts into one whole. The dress and adorn-, 
 ment employed by women can and must have no other purpose 
 than to assist or render more pleasing one or another part of the 
 figure, and they must never detract from the ease of the dress or 
 the entire appearance. Woman should be the emblem of 
 a beautiful simplicity ; tasteful, moderate ornament only 
 enhances the charm of this simplicity, while affected, forced, strik- 
 ingly conspicuous ornament may attract attention, not to loveli- 
 ness of the form, but to the price and workmanship of the 
 ornaments. 
 
 The greatest art in toilet adornment consists in having it in the 
 
l86 ESTHETIC PHYSICAL CULTURE. 
 
 Utmost possible harmony with the person. It would be a great 
 fault, and the lady would miss her aim entirely, if, for instance, 
 a small, charming figure should wear elaborate and carefully ar- 
 ranged ornaments, while they ought to be light and seemingly im- 
 provised. On the contrary, a tall, majestic figure may wear to 
 advantage a heavy and elaborate dress. In the toilet self-love 
 and vanity must so far vanish that each one arrives at this con- 
 viction : '^ Nature has made me so and so, and only this suits my face 
 and figure." For the sole ofificeof adornment is to enhance the natu- 
 ral charms, and this may be realized as well through colors as by 
 the form of the clothes, and the ornaments. 
 
 A great mistake in women lies in paying entire attention to the 
 adornment of the face and its surroundings, to the neglect of 
 other parts of the body. The face and head certainly form that 
 part upon which the eye of the observer falls first, but the adorn- 
 ment of this part should never destroy the harmony of the whole 
 figure. Above all, the lady must keep before her a decided im- 
 pression of the whole, with which every single part must harmo- 
 nize in place and quality. A beautiful face receives the full might 
 of its charm only from beauty of the whole person. 
 
 Hence it appears clearly that in dress harmony is far more dif- 
 ficult of attainment than magnificence. The choice of a costume 
 must always be dictated by circumstances. The hostess, by a 
 simple dress, shows that she is ready for our service ; costly 
 adornment would not allow us to feel at home in her presence. 
 At the sick bed of a friend, a simple house dress is far more ap- 
 propriate than an elegant walking costume. In a social gathering 
 more care in dress is required, but a really fine dress is only for 
 festal occasions, such as balls, theatres, concerts, etc. To appear 
 here in ordinary attire would be an open breach of propriety and 
 an insult to the company. 
 
 At all religious solemnities, especially at church, the dress 
 must be simple, sober, and modest. We must avoid all that is 
 really adornment, if we would not incur the reproach of decking 
 
DRESSING. 187 
 
 ourselves in fine array for the house of God. A lady in 
 mourning, whose dress gives evidence of great art and 
 care, will not excite our sympathy. Upon the promenade, as in 
 all circles connected with it, one should appear in a costume 
 which holds a medium between a house dress and a grand toilet, — 
 which, while it displays care and some degree of ornament, is re- 
 moved from all stiffness and constraint. 
 
 Various ages and conditions require varied dress. The young 
 girl, who has just become a bride, must modify somewhat the 
 dress that so charmingly became her as a young maiden, if she 
 would impress us as an amiable wife. Her dress must still show 
 a desire to give her beauty its full value, but never to attract at- 
 tention. With increasing years, colors and forms should become 
 more quiet. No sight is more ridiculous than that of an elderly 
 lady seeking to represent youth in dress and demeanor. Every 
 period of life has its various appropriate and charming forms and 
 colors, and the woman's task is to select the most fitting, and to 
 confess to herself that it is time to choose them. If a beautiful 
 woman neglects this, she will never attain the end she desires. 
 
 All peoples and all eras have given great care to the adorn- 
 ment of the head ; this has been especially the case with women, 
 who in this way have great transformations at command. But a 
 lady must not allow herself to be so carried away by a fashion, 
 as to adopt it merely because it is the fashion without considering 
 whether or not it harmonizes with her face. The main thing in 
 the woman's head-gear is to harmonize the reigning mode with 
 the natural form of the face. 
 
 The long face demands smooth hair over the forehead, falling 
 on both sides in thick curls ; but the round face requires the hair 
 w^orn high above the forehead, in some becoming form, the ears 
 being left wholly uncovered. A short, broad face gains by having 
 the hair still more drawn back, and also by having it waved, as 
 both modes make the face appear less short and broad. It is 
 also advisable to wear the hair drawn back from the forehead 
 
i88 ESTHETIC PHYSICAL CULTURE. 
 
 when it grows too low down, and gives the forehead a narrow 
 appearance. A long face appears still longer and more plain 
 if the hair is drawn back or piled up over the forehead ; a broad 
 face, on the contrary, only wins by this mode. Attention to 
 other people's ways of arranging the hair, unprejudiced observa- 
 tion and analysis of each part of this adornment, and then a criti- 
 cal survey of her own before the mirror, — this is the practical 
 school in which the cultured and tasteful lady may make speedy 
 and visible progress in the art of a fine toilet. If, through re- 
 peated effort, she has found an arrangement of the hair suited to 
 her face, she may prize it as a real means of enhancing her 
 beauty, and she will not merely for fashion's sake hasten to ex- 
 change it for another, perhaps less becoming mode. The mode, 
 which really enhances her beauty of face and figure, she should 
 regard as her own mode, and, holding fast to it, never change it 
 save in trifles. 
 
 An indispensable condition of the head-dress is airiness and 
 movement, with an avoidance of all pretension. Ribbons and 
 veils must be light and fluttering. If a lady chooses plumes 
 for the adornment of her head, they must never be stiff, but float 
 lightly and gracefully. One avoids placing ribbons and jewels 
 or metals and feathers together, as also adding long feathers to 
 veils. If ornamental pins and combs for the hair are not to be 
 regarded as tawdry finery, they must be always real, or concealed 
 by ribbons, veil or curls. Bright colors should be removed from 
 the face by a proper arrangement of the hair, or they will detract 
 from its beauty. As for the form of the lady's hat, there is no 
 doubt that the round, graceful form, which displays the whole 
 outline of the head, is preferable to the exaggerated, puffed-up 
 form. 
 
 Men's Dress. 
 
 Although the fashion of our century does not allow a man the 
 variety in dress and its adornment which is permitted to women, 
 he must be none the less careful in the choice of materials, colors 
 
DRESSING. 189 
 
 and forms. Clumsy boots or shoes, or a coarse, ill-formed hat 
 spoils the finest toilet. Let the form of the hat be elegant, and 
 always suited to the face. A low hat better suits long, thin faces, 
 than a high one ; small faces are also seen at a disadvantage un- 
 der high or broad-brimmed hats. Almost any form is suited to 
 full faces, but the high hat more so than the low one. The hat 
 must not sit near the eye-brows ; still less far from them. The 
 latter may all too easily become ridiculous. Caps are allowed 
 only in the house or on journeys, and do not belong to men's 
 toilet. 
 
 In dressing the neck it must be taken into account whether the 
 neck is long, short, thick or thin. In the first case, it must be 
 dressed higher, in the second, lower, in the third, thinner, in the 
 last, thicker. 
 
 We have said that men must pay due regard to material, 
 form and color, which, taken as a whole, must be suited to indi- 
 viduality, age and condition. For the man of culture, the use in 
 view decides — show and ornament being entirely subordinate. 
 All over-dressing is especially to be avoided. A costly but not 
 too showy breast-pin, two genuine rings at most, are his orna- 
 ments. Fine, white linen is, above all, a sign of good taste and 
 cleanliness. 
 
 The form of the dress-coat always follows the reigning mode, 
 and can deviate from it only in trifling respects. The color of 
 the coat is always black on festal occasions ; for walking or for 
 morning visits, etc., it may be brown or blue. Nearly all colors 
 may be chosen for the coat. Whether a white or black vest shall 
 be worn with a black dress-coat, depends upon the ruling mode. 
 The pantaloons are subject to the constant changes of fashion ; 
 not too wide or too narrow is the best rule here. In regard to 
 this article of dress it may be observed that if colored it should 
 always be lighter than the coat. 
 
 The gloves must be of fine leather and sit well ; white for fes- 
 tal occasions, light brown, yellowish, or ash gray for every-day 
 
IQO ^ESTHETIC PHYSICAL CULTURE. 
 
 wear. As in the pantaloons, one has to consider here that the 
 gloves must be lighter than the coat. Ash-gray and fawn-color 
 are well suited to every dark colored coat ; black or dark gloves 
 must never be worn with a light costume. One wears glasses 
 only when he really needs them. The frames should be of gold 
 or silver. The man of culture will only carry the glasses to the 
 eyes when really necessary ; a continual adjusting of them to the 
 eyes is silly. Watch chains should always be genuine ; if such 
 an one cannot be had. one wears his watch suspended from a 
 simple black ribbon. 
 
 In the choice of colors the man should pay careful regard to 
 his face, hair and figure. Black, brown, dark blue and steel-green 
 suit every face ; light blue, light gray, fawn-color, and similar 
 hues, are becoming only to fresh, animated faces, and brown 
 hair. 
 
 All we have said refers just as much to the dress of the actor 
 as to that of the private man. Still some remarks must be added 
 for the benefit of the former. 
 
 If cleanliness, neatness and good form in dress are especial 
 obligations of the cultured man, the actor is doubly bound by 
 these obligations ; not because thousands of eyes rest upon him, 
 but because he is to serve as a pattern, because the stage should 
 be the school of culture and fine manners, and an offence against 
 them here deserves to be far more strictly punished. Above all, 
 the actor must avoid appearing upon the stage in the dress in 
 which the public is wont to see him on the street. It makes an 
 unpleasant impression when we think of a Mr. So-and-So, and he 
 appears to us in the person of the actor So-and-So. Even if the 
 audience are not so deceived as to be unaware that the actor Mr. 
 X. plays this or that role, they must, under no condition, be re- 
 minded of it by the street dress of the actor. But here it is by 
 no means said that the actor is to wear no part of his street cos- 
 tume upon the stage ; he is only reminded that he must not ap- 
 pear in his entire street dress, which in itself forms a decided 
 
DRESSING. 191 
 
 whole, before the eyes of the pubhc, which would then see an- 
 other character than that of the actor. 
 
 In regard to dress that is not modern, and that in stage lan- 
 guage is designated by the word. " costume," it conforms strictly 
 to the time in which the persons represented lived ; and if we un- 
 derstand how to represent the historical costume correctly, we 
 might still warn against a too strict truth to history ; that is, we 
 would advise the player to adopt the historical costume only so 
 far as decorum, custom and the law of beauty allow. 
 
 Ladies will do well to consult their associates over the choice 
 of colors, so that not two or three persons may appear in the 
 same colors, if it is not especially necessary. It is also to be ob- 
 served that in characters whose main trait is ease, new costumes, 
 which are always stiff, are not to be chosen; neither in charac- 
 ters which portray old age, niggardliness, avarice, etc. 
 
 Combination of Colors. 
 
 In conclusion we will make some remarks upon colors and their 
 combinations. 
 
 Colors are usually divided into primary or purely fundamental 
 colors — yellow, red and blue ; into secondary, which are formed 
 by two primary colors, — orange from yellow and red, green from 
 yellow and blue, purple from red and blue ; and finally tertiary 
 colors, of which there also three, and which always result from 
 the combination of two secondary colors, m which one color 
 rules: — citron-yellow from green and orange; reddish brown 
 from orange and purple ; and, finally, olive-green from a mixture 
 of purple and green. Besides, we have half-neutral tints : brown, 
 maroon (like the color of the Italian chestnut), and gray ; last of 
 all the neutral tints, white and black. 
 
 The fewer colors in one and the same toilet, the more tasteful 
 it is. White and black are always the best and noblest hues for 
 dress, singly as well as in their combinations. 
 
 For pale faces, yellow, light blue and pale blue, violet and light 
 gray are to be avoided ; and a brownish, sallow complexion in 
 
192 ESTHETIC PHYSICAL CULTURE. 
 
 either sex always appears to disadvantage in white, yellow, light 
 gray, and especially pale, light colors. 
 
 Here becoming dark colors must be chosen. Black, dark or 
 steel-green, dark blue, crimson, dark gray and brown, must here 
 in the toilet be blended with white. These colors are becoming 
 to almost every face, but in florid complexions, crimson, bright red 
 and reddish brown are to be avoided. On the contrary, light gray, 
 fawn-color, and even light green, like very light-colored dresses, 
 for the most part are well suited to lively, fresh and brunette 
 faces. For brunette ladies, yellow and red are becoming in hat- 
 bands as well as in clothing. Blondes, on the contrary, should avoid 
 all yellow shades, and turn to delicate green, rose and lilac, which 
 colors are in turn less becoming to brunette faces. 
 
 Black, white, sky-blue, rose-red, and straw are the noblest 
 colors. Then come those most intimately related to them. The 
 contrasting colors are : green and pink, silver and yellow, black 
 and brown, violet and yellow, blue and orange, rose and light 
 green. The harmonizing colors are : black and pale yellow; sky- 
 blue to white and pale yellow; blue to white; pale blue and pale 
 rose-red; black to white; to scarlet and lilac only white, silver and 
 pale straw; to dark brown, white and straw; crimson and blue; 
 sea-green and yellow ; red and gold ; black and gold ; also black, 
 red and gold ; gold and silver ; silver and blue ; red, brown and 
 lilac ; yellow and lilac ; yellow, brown, black and red ; green and 
 red ; brown, yellow, red, blue and broken gray and black tones ; 
 yellow and black ; white and yellow ; yellow, white and gray ; 
 red and black ; red and yellow ; lilac, blue and red ; white and 
 green ; white and rose ; white and yellow ; in short, white with 
 all colors. 
 
 Blondes should choose delicate colors and those blending in 
 combination ; brunettes, on the contrary, contrasting and inde- 
 pendent colors, such as bright red and brown, bright yellow and 
 violet, flame-color and black. White stuffs, such as linens, laces 
 and 'silks, should never affect bluish, but rather yellowish tints, 
 
DRESSING. 193 
 
 if they are to harmonize with the color of the flesh. If the com- 
 plexion has greenish or grayish tints, dark green or dark gray may 
 be worn, but here black is preferable. 
 
 The brightest colors should, so far as possible, always be next 
 to the head and face ; loud and contrasting ones should be di- 
 vided and not brought into too great masses. Hence it follows 
 that they are not to be used for the main color of the dress, but 
 only for its decoration. All dark colors'should, if practicable, be 
 arranged below and light ones uppermost. Shoes of very light 
 color should never be worn with dark or black dresses ; red, pink 
 or yellow ones should not be chosen ; but light colored shoes are 
 suited to light toilets. 
 
 A toilet of entire white, with even ribbons and ornaments cor- 
 responding, is uncommonly delicate, betrays a fine, noble taste, 
 and is suited to august occasions. For joyous festivals, a garni- 
 ture of rose, sky-blue, pale green, or delicate, leaves and flowers, 
 is an agreeable innovation. For elderly persons, black is incon- 
 testably not only the most suitable, but also the most dressy ; 
 next to this are fine browns, blue or gray, as best suits the com- 
 plexion. Colors destined for evening toilets should be chosen by 
 artificial light. 
 
 13 
 
PART SEVENTH 
 
 Application of the Rules Given in this Book to 
 Common Life, the Salon and the Stage. 
 
CHAPTER I. 
 
 APPLICATION OF THE RULES GIVEN IN THIS BOOK TO COM- 
 MON LIFE, THE SALON AND THE STAGE. 
 
 As we have hitherto given only fundamental rules, and in them 
 have regarded people only from the stand-point of aesthetic gym- 
 nastics, so shall we now, in the application of the rules laid down, 
 fix only main principles, as we allow man to pass before us in his 
 social relations. 
 
 What is Decorum 2 
 
 One who has thus far studied our book carefully, can be in no 
 doubt as to the answer to this question. But the dramatic artist 
 must be interested in having this word decorum somewhat further 
 elucidated. And who in this matter can be considered better 
 authority than our old master, Iffland ? We therefore let him 
 speak for himself : 
 
 " By the term decoru77i many actors think of nothing but espe- 
 cially distinguished manners. They think to attain them by a 
 lofty carriage of the head, by a measured gait, by a vacant stare 
 which sees and recognizes nothing. They, therefore, choose the 
 most high-stepping, magnificent figure that occurs to them as 
 the ideal of fine manners. They should rather say to themselves 
 — good manners are that deportment which the person to be 
 represented would naturally assume in the given situation. 
 
 " The deportment of the prince, of the minister, the general, 
 the rich man, the father, if each is a man of culture, must, in 
 the main, be more or less the same. In some cases, professional 
 habits and costume may change the outward appearance. Tem- 
 perament, character, and passion must also necessarily produce 
 differences in deportment. The ordinary dancing-master cannot 
 
198 .ESTHETIC PHYSICAL CULTURE. 
 
 give this instruction. The genius, the peculiarities of the actor 
 must be his inspiration. 
 
 "Those who have not received early instruction in fine 
 manners, and must rely wholly upon later instruction, will at 
 least seek to grasp fundamental rules, and try to adapt them- 
 selves fully to the requirements of good breeding. This is pos- 
 sible, when the feeling for beautiful forms is especially decided. 
 
 "To acquire manifold ideas on this subject, it is excellent 
 to see distinguished men at moments when they are conspicu- 
 ously before the world, or may be supposed to be in peculiar 
 states of mind. Even if they do not possess the gift of outward 
 representation, still, at such moments, their manners are con- 
 trolled by the predominant idea, and from the way in which 
 they pass through the ceremonial, one learns to perform de- 
 cidedly what is necessary. 
 
 " It is not in the power of every one to acquire fine manners. 
 It is given to but few. It is, however, granted to many to attain 
 a good deportment. Yet no one can excuse himself if a decent 
 one be wanting. ^ 
 
 " This can be attained by ordinary attention. Nothing more 
 retards its attainment than those negligences one allows one's 
 self in every day life, and especially at home. The actor should 
 at all times demean himself as if opposite Xkvt parterre.'' 
 
 Politeness and Modesty. 
 
 " Be polite to every one, whether he stands above or below 
 you," is a common maxim which must be made the main principle 
 of every person who pretends to culture. By politeness we do not 
 understand cringing to others. Let each one ask himself in 
 all cases (if in doubt over the degree of politeness), how he 
 would wish others to meet him, and the doubt will at once van- 
 ish. If politeness does not spring from the deepest depths of 
 one's nature, it has the contrary effect, for nothing is more repul- 
 sive than politeness that arises from cool and deliberate calcula- 
 
APPLICATION OF THE RULES GIVEN. I99 
 
 tion. It is impossible to give exact, exhaustive rules ; he who 
 has a sincere desire to be polite will always find rules ; but gen- 
 eral hints may certainly be given. 
 
 The polite man will regard each individuality from its own 
 standpoint, and give it its full value as such ; he will take it as 
 it is, and not as it should be. He will not seek forcibly to im- 
 press his own ideas upon others ; he will represent them merely 
 as his own, and not as general and irrefutable. If he is not 
 questioned, he is silent ; if he is questioned, he gives his opinion 
 plainly, but in the most inoffensive way. This manner is far 
 more effective than the domineering one, and not in the least 
 derogatory to politeness. 
 
 It is impolite to interrupt one when speaking, without urgent 
 reasons, or to remark that his recitals do not wholly agree 
 with facts. If the departure is slight, one is entirely silent ; 
 if it is so marked that harm might ensue, one begs pardon, 
 and remarks that the narrator may not have been quite cor- 
 rectly informed, and correct the error in such a manner as not 
 to wound. In like manner, if the honor and reputation of a 
 person not present are attacked, politeness never decrees silence, 
 but to a manly defense of the one unjustly assailed. 
 
 The polite man never omits the required greeting ; he does 
 not wait anxiously for the first greeting from him he meets ; if 
 not directly anticipating him he at least approaches half way, 
 and never omits the salutation, or to recognize it, even if it 
 comes from the lowest. It is impolite not to give the best pos- 
 sible information in reply to a question ; if want of time or 
 knowledge of the matter do not allow an exact answer, an excuse 
 must follow, but never must bad humor or ill-will be evident in 
 the reply. Any one may be betrayed into a breach of polite- 
 ness ; but it would be in the highest degree impolite not to offer 
 an immediate apology. 
 
 Many people gauge their own politeness by that of others ; 
 this is entirely false. Our politeness should not be decided by 
 
200 ESTHETIC PHYSICAL CULTURE. 
 
 outside things ; it must come from within, and we should not 
 permit ourselves to be less polite because another is impolite. 
 It is unworthy of any one to repress his inward convictions out 
 of politeness, merely for the sake of flattering another. It is 
 impolite to allow any one to remark that he is not intellectually 
 our equal. If one is at the same time pretentious and ignorant, 
 long conversation with him is to be avoided in society ; by 'a dis- 
 play of intellectual superiority, one usually more offends the host 
 and the company than the person himself whom he would hu- 
 miliate. 
 
 To make a timid, bashful man ridiculous in society by perpe- 
 trating witticisms at his expense, is not only impolite — it is exe- 
 crable. Such conduct has often had a decided effect for life 
 upon the unfortunate individual, by depriving him of every rem- 
 nant of self-confidence. 
 
 Modesty, must be united with politeness. The modest man 
 should be well conscious of his worth, but not to make a display 
 of it, still less to look down upon less favored persons. 
 
 A really able but forward man lowers the measure of his ability, 
 while the modest man heightens it. Modesty, like politeness, 
 must proceed from the heart ; if it is only assumed and outward, 
 it may easily make the contrary impression of arrogance upon 
 those around us. In like manner we must warn against too great 
 modesty when it goes so far as to wholly forget one's own inter- 
 ests, even to neglect them, from too high a sense of honor or 
 the wish to serve others. 
 
 So much of modesty and of politeness in general, — that dictated 
 by the heart (for in our book we have nothing to do with the 
 politeness of the diplomatist). Special things will be learned 
 under single headings in the course of this part. 
 
 Behavior Upon the Street and Public Places in the Open Air. 
 
 The man of culture does not meditate upon the street ; he 
 does not walk dreamily forward with hands crossed over his 
 back, eyes cast upon the ground ; he does not pause from time 
 
APPLICATION OP^ THE RULES GIVEN. 20I 
 
 to time ; he goes on his way, not arrogantly, but with firm step, 
 his glance straight forward, yet so that he can see what hap- 
 pens in front of him and at his side. If he meets a person of 
 his own rank, he salutes, turning half aside ; if he meets a lady, 
 he steps aside far enough to permit her to pass freely ; if the 
 path is narrow, he pauses, and lets the lady go past him ; in bad 
 weather, he always steps aside and gives the lady the better path. 
 Salutation upon the street takes place by removing the hat at 
 least three steps in front of the person to be saluted, and ends 
 three steps behind him. (How we have learned under '' Saluta- 
 tion.") The removal of the hat will begin earlier or later, 
 according to the rank of the person greeted. A premature 
 removal of the hat is no sign of great respect ; on the contrary, 
 it is ridiculous. 
 
 The manner of pausing before every acquaintance, and with- 
 out any special reason, engaging him in conversation, is not that 
 of the cultivated man. In most cases one salutes in passing, 
 but if he meets a prince, he steps aside, pauses, and remains 
 standing with uncovered head until he is past. If in walking 
 one chances to glance upward and observes a person at a win- 
 dow, he bows ; but to glance persistently right and left into open 
 windows, and seize every possible opportunity of bowing, does 
 not belong to fine tone. 
 
 If a group stand conversing upon the street, every one of this 
 group turns fully to the side whence the greeting comes ; if this 
 does not happen, if one stands quietly in his place, and bows as 
 it were over the shoulder, he commits a breach of good manners. 
 if one passes through a dividing and larger group, and must 
 bow on both sides, until past, he carries his hat at the side of the 
 thigh. 
 
 There are people who lay great stress upon being greeted 
 (recognized), for this reason none should neglect it. Just as 
 little should one omit to have the same degree of respect in the 
 greeting returned as in that given. It evidences little culture 
 to return a polite greeting indifferently or coldly. 
 
202 .ESTHETIC PHYSICAL CULTURE. 
 
 If we accompany any one who salutes a stranger to us, politeness 
 demands that we bow also, and in like manner that we return the 
 bow if our companion is greeted. But if our companion is a per- 
 son of higher rank than we ourself, we do not return the bow 
 which is for him alone. 
 
 Ladies must pay great attention to their street deportment. 
 What in men may pass for ill-breeding or lack of culture, may 
 easily assume a worse character in women. Hence they should 
 avoid all unnecessary gazing around, when passing along the 
 street ; still, anxiety must not cause a lady to neglect to return 
 the greetings she receives with a polite bow. (See Reverence in 
 Walking). The lady never bows first,* but if she receives a bow, 
 she must in all cases return it. Most mothers believe they have 
 educated their daughters remarkably well, if they pass with short, 
 tripping steps over the street, glancing neither right nor left so as 
 not to be obliged to return salutations too often, which would be 
 improper. Into what an error are they betrayed ! The woman, 
 conscious of her worth, conscious that she serves as a pattern of 
 morals, may walk on freely and unaffectedly, not allowing the 
 least anxiety or embarrassment to be remarked in her glance or 
 bearing. Thus only she avoids that which through an anxious 
 manner she had thought to shun. 
 
 Deportment Toward Ladies. 
 
 Let one adopt what we have said in regard to Politeness and 
 Modesty, and he will have the rule for his deportment toward 
 ladies. We will add a few things. 
 
 As politeness must be dictated by the heart, so must the 
 deportment toward ladies be devoid of everything superficial or 
 forced; a clever woman distinguishes very sharply between 
 flattery and truth. We never rise in the respect of women by a 
 pretense of kindly service. A worthy complaisance is the required 
 condition. 
 
 * In America, the lady always bows first. She thereby gives the gentleman permission to 
 bow to her. 
 
APPLICATION OF THE RULES GIVEN. 203 
 
 Always, and in all situations, ladies are 2:iven the preference; 
 but in mounting a stair-case, propriety demands that the gentle- 
 man precede the lady, and upon reaching the top wait at one side 
 the stairs, until the lady is also at the top, and then take his place 
 at her side or behind her. 
 
 The man of culture and tact never, in presence of a lady, 
 leads the conversation to pure science, politics or religion, or to 
 any domain where the lady may not safely follow. If the lady 
 herself begins such a conversation, he proceeds with great cir- 
 cumspection, continuing only so long as it is the lady's pleasure 
 to follow, which, with due attention, he remarks at once. A man 
 in ladies' society must be very careful about remarks upon 
 beauty, ugliness or age; nowhere can he give greater offense 
 than here: If a man has cause and occasion to pay one lady 
 marked respect in the presence of others, this must not be carried 
 so far as to outrage common respect toward the others. A 
 woman seldom forgives this, and the one thus distinguished may 
 easily be thrown into embarrassment. In the society of ladies 
 the man never belongs especially to one individual, but to the 
 whole. If he will not, or thinks he cannot observe this rule, he 
 had better remain away from society. 
 
 A merry humor is always welcome in the society of ladies, but 
 this must never pass permitted limits, neither must the tone of 
 the conversation be too loud or too familiar. If a lady seats her- 
 self on a sofa, and invites a gentleman to be seated, but does not 
 make an unmistakable motion for him to take a place on the sofa, 
 he draws a chair near it, and seats himself upon that. 
 Deportment in Large Companies, 
 
 When the gentleman enters the hall, he goes immediately to the 
 lady of the house, pays her his first compliments, the master of 
 the house his second, and then to the others present. Politeness 
 demands that among the latter, persons of rank be saluted first. 
 It scarce need be hinted that these greetings must be short, no 
 especial pause being made at either, least of all before the host 
 
204 ESTHETIC PHYSICAL CULTURE. 
 
 and hostess. If the lady of the house is not in the first room, the 
 person entering, passes, with a sHght bow to those present, into 
 the next room, seeking her, to salute her ; then only does he 
 mingle with the company. 
 
 The guest must notice carefully whether upon his entrance the 
 lady or the master of the house is in conversation with other 
 guests; in this case, he waits a favorable opportunity before 
 •approaching, so as not to interrupt the conversation. 
 
 If, for the guest, the society is made up of many strange ele- 
 ments, he must gradually be introduced to one and another, by 
 an acquaintance. One acquaintance leads to another, and thus 
 initiation takes place. Regarding the principle that in society 
 every single person belongs to the whole, one will avoid all 
 marked isolation, whether from individuals or from the many. 
 Single, greater or smaller groups must needs form, but they 
 should not be of long duration; they should soon dissolve and 
 the individual members again blend with others. 
 
 If, in a company, recitations or performances are given by pro- 
 fessional artists, the laity will do well not to undertake them; but 
 if on the contrary, everyone does his best, no one who has the 
 capability of entertaining the company in any way, may excuse 
 himself. 
 
 We would here especially warn against one very frequent and 
 obtrusive piece of ill-breeding; this is the want of attention when 
 one or another person performs somethmg. Conversation 
 between individuals should cease at once, and if one finds no 
 pleasure in the performance, he must never let his dissatisfaction 
 be visible in any way. Unhappily, we find this breach of good 
 manners in the most refined circles. How constantly we see two 
 or more persons during the performance of a piece on the piano, 
 engaged in animated conversation, thus gaining more or less the 
 ill-will of the company, and especially that of the performer ! 
 All at once as soon as the music ceases, we see and hear them 
 applauding with all their might, and far more lavishly than the 
 
APPLICATION OF THE RULES GIVEN. 205 
 
 most attentive listeners! One can regard such people only with 
 aversion. They show that they are present only for their own 
 sake and not for that of the company. 
 
 In introductions it is to be strictly observed that the lower is 
 to be introduced to the higher, the younger to the older, the gen- 
 tleman to the lady; hence the name and station of the former is 
 always first to be mentioned, and then the name of the one to 
 whom he is introduced. In the case of persons of distinguished . 
 rank who are supposed to be generally known, only the name and 
 station of the one introduced, is mentioned. 
 
 If one takes a glass, a cup, or any vessel that has contained 
 refreshments from the hand of a lady, he does not set it down in 
 the first place that offers, in which case it may easily be broken ; 
 he motions to a servant, and gives it to him. In case no servant 
 is near at the moment, he holds the object in hand until a ser- 
 vant arrives. 
 
 If one is engaged in conversation, and a new comer appears, 
 he does not break off the conversation. In a few brief words, he 
 explains its import to the newcomer, and goes on. Secrets which 
 the one iust entering may not hear, do not belong to society. 
 
 If one seats himself beside one or niore persons, immediately 
 before setting down he makes a slight bow to one or all. 
 
 Deportment at a Ball. 
 Deportment at a ball does not differ from deportment in a 
 large company, or from that toward ladies in general. There are 
 still some details to be observed, which we will designate in a 
 few words : — 
 
 1. Two successive dances are never danced with one lady. 
 
 2. Too frequent dancing with one lady is to be avoided. 
 
 3. Politeness demands that we do not always dance only with 
 the ladies who please us, but with. those who are less pleasing 
 to us. 
 
 4. If a gentleman would invite a lady to dance, he does not 
 gaze around the hall in such a way as to attract attention ; 
 
2o6 ESTHETIC PHYSICAL CULTURE. 
 
 he does not pass by various ladies with a half-air of Wish- 
 ing to engage them ; but, from the place where he stands, 
 he singles out his partner, and approaches her with decided 
 steps. One to two steps (according to space) before the lady, 
 the bow is made, and the address follows. In withdrawing from 
 a lady, who is already engaged, he takes a step backward, and 
 withdraws with a bow. It is very impolite if, in this case, he 
 without delay, engages the lady sitting next, which is as much as 
 to say: "Because I cannot have this one, I take you." No 
 greater offense toward a lady is possible. It is better to go back 
 to one's place, and single out another lady, approaching her as 
 the first. It also shows little culture when the gentleman with 
 whom the lady declines to dance, gives evidence of wounded 
 feelings ; if the lady is engaged, he has no reason ; if she re- 
 fuses to dance with him for other reasons, the lady fond of 
 dancing has already punished herself, since she must remain 
 sitting at least during this dance, for no lady of culture, after she 
 has given a gentleman a refusal of one dance, will grant this 
 dance to another. 
 
 If there is no other reason than that the lady is engaged, 
 politeness demands that in refusing, she begs the hand of the 
 gentleman for the next or for a future dance. If the lady is 
 ready for the dance, she rises immediately upon receiving the 
 invitation ; at the same time, the gentleman with one step passes 
 to her left side, and receives in his right hand the finger-tips of 
 the lady's left hand, and with lifted arm steps with her to the 
 place where the dance is to begin. It is impolite to take the 
 lady by the arm as soon as the engagement takes place ; it im- 
 plies a familiarity which must never be displayed at a ball, unless 
 it is a family ball. If the dancing pair have to begin the dance 
 at the very place where the engagement is made, the gentle- 
 man after he receives the lady's hand, assumes the proper posi- 
 tion and begins. 
 
 5. During the dance one avoids every too near approach, 
 
APPLICATION OF THE RULES GIVEN. 20/ 
 
 every placing the chin upon the lady or gentleman's shoulder, (a 
 sin against decorum unhappily of frequent occurrence in our 
 day, but especially to be condemned), and pursues the dance in 
 the most well-bred manner, to its close. As soon as the dance 
 is ended, the gentleman leads the lady, in the same way as before 
 beginning it, to her place. Two or three steps before reaching 
 the place, the lady turns to her partner, a slight bow from both 
 takes place, which the lady, now loosing her hand, follows with a 
 full reverence, while the gentleman makes the " reverence at 
 departure." 
 
 6. It is especially ill-bred during the ball (except at table,) to 
 draw off the glove, and immediately before or even during the 
 engaging, draw it on again. The man of fine feeling takes two 
 pairs of gloves with him to everv ball, and changes as soon as 
 is necessary ; to offer the lady one's hand with a soiled glove on 
 it is indelicate in the highest degree. ^ 
 
 7. To come to a ball promised beforehand for all the dances, 
 places the lady in no agreeable position in regard to the gentle- 
 men ; it is well enough to be engaged for two or at the most 
 three dances in advance, but it is not well for a lady to be forced 
 to refuse every gentleman who comes to engage her. Aside 
 from the consideration that it cannot be pleasant for them, it 
 may easily give such a lady the reproach of prudery. 
 
 8. At a ball every pair has the same rights ; one should not 
 therefore press into the foreground. 
 
 9. In round dances a too rapid movement out of the row of 
 dancers, and dancing in front of it, is ill-bred. 
 
 10. The main rule for the cultured man, is to follow implicitly 
 the arrangements of the director of the ball. 
 
 11. A dancer has to observe the greatest caution if, during a 
 brief pause, he would say a few words to his lady. If he broaches 
 a grave topic, he bores ; if he speaks superficially, he gives the 
 impression of an effeminate man. He, therefore, well considers 
 with whom he dances, and what he can possibly say. 
 
208 ESTHETIC PHYSICAL CULTURE. 
 
 All we have thus far said in regard to the ball, refers certainly 
 to the first, most refined circles ; and it is evident that- modifica- 
 tions enter according to the sphere in which the ball takes place ; 
 but the man of culture makes no distinction ; he remains equally 
 himself everywhere. A man will never incur the reproach of too 
 great refinement, but more often quite the contrary. 
 
 Deportinent at Table. 
 
 In going to the table, the lady of the house and the highest 
 guest take precedence ; and when these are seated the others 
 (ladies first) sit down, making a slight bow to the left and right. 
 
 Each guest, without further delay, will take the designated 
 place. One takes care not to let it be remarked that he would 
 prefer another place ; it is an insult to the hostess and the per- 
 son near whom he is seated. If one has to choose his own 
 place, he waits modestly until the older and higher in rank are 
 seated. 
 
 If the dishes are not handed by a servant, but pass from the 
 lady of the house, a guest always hands the viands to the one 
 next him. It is impolite to break' the succession in order to do 
 honor to any single person, by passing the dish to the other side 
 of the table, and then taking it back. On the other hand, it is 
 not only proper, but politeness demands that the dish be held for 
 the lady, until she has helped herself. 
 
 If all the dishes have not been passed around, and some still 
 remain upon the table, one does not begin to eat, until the lady 
 or gentleman of the house, or the most distinguished guest, has 
 begun. 
 
 Although the rules for sitting have been exactly given in 
 *' Esthetic Gymnastics," a few more words are required here in 
 regard to sitting at table. Here, certainly, the position of the 
 feet is not so strictly subject to rule ; but they should never be 
 so stretched out as to annoy one's neighbor opposite. In like 
 manner, it is not allowable to protrude the elbows ; they should 
 
APPLICATION OF THE RULES GIVEN. 209 
 
 be so sharply drawn in, that plachig them upon the table would 
 be an impossibility. 
 
 Meat is to be severed from the bone by knife and fork ; to 
 gnaw at the bone is in the highest degree unmannerly. Bones, 
 as well as those parts of fruit which are not eatable (stones, etc.), 
 belong to the edge of the plate, but the knife and fork upon the 
 knife-rest at its side. After eating soup, the spoon remains in 
 the plate. If the knives are not changed, one cleanses his own 
 with a bit of bread, which, in any event, he lets lie upon his plate. 
 
 One does not let the stones of fruit fall from his mouth upon 
 the plate, for in this case there is danger of their springing' upon 
 the table-cloth or upon his neighbor's plate ; but one carries his 
 spoon or fork to the lips, places the stone upon it and then carries 
 it to the edge of the plate. 
 
 Tarts and cakes are never taken with the fingers, but with a 
 knife ; but comfits (dry ones) are take^n with two fingers (the 
 thumb and index finger), and preserved fruits with the spoon. 
 
 If one has to pour out wine or water, he does so at the right 
 with the left, and at the left with the right hand. 
 
 If at table, one has to reach any sort of thing (spoon, knife 
 fork, glass, bread, etc.) to the lady near him, he never does this 
 with the bare hand, but upon a plate. 
 
 A gentleman's first duty certainly is attention to the lady he 
 takes to the table ; but this should never be directed so exclu- 
 sively to her that he vouchsafes no word to the lady on his left. 
 The man of culture will engage alternately both ladies in conver- 
 sation. 
 
 In eating soup, when the plate begins to be empty, one takes 
 especial care not to strike the spoon audibly against it. 
 
 It is very impolite, in helping one's self from a dish, to hold 
 it critically in the hand, and perhaps lay down a piece already 
 touched by the fork, doubtful which to take. If one helps the 
 lady next to him, he should always take the best for her. 
 14 
 
2IO ^ESTHETIC PHYSICAL CULTURE. 
 
 One eats meat by cutting off each mouthful separately ; to cut 
 the whole into bits beforehand is exceedingly ill-bred. 
 
 One guards against laying knife or fork from the dish which 
 is being carried around upon his own plate ; and one never takes 
 anything from the dish with his own fork ; but in case a fork is. 
 lacking, he asks for one from the servant. 
 
 One does not cut the roll of bread ; he breaks it. 
 
 If a dish is brought on with which one is not acquainted, and 
 which he has never tasted, if he cannot trust his gift for obser- 
 vation and see at a glance how the others do, he lets it pass by 
 him, rather than make himself ridiculous by eating it in the wrong 
 way. 
 
 One shoiild be sparing of toasts. The first belongs to the 
 master of the house, while welcoming the company. The high- 
 est of the guests returns thanks, by proposing a toast to the 
 master and mistress of the house. If one does not possess the 
 gift of ready speech (which is no demerit), he should not press 
 himself urgently into a reply to a toast, as this may lay him open 
 to ridicule. 
 
 The person of highest rank in the company always gives the 
 signal for rising from the table ; often it is the host or hostess. 
 It is in the highest degree ill-mannered to rise before the signal 
 is given. 
 
 In rising one makes a slight bow to right and left, and, as in 
 coming to the table, offers his arm to his lady, and conducts her 
 back to the dancing-hall or into another room. 
 
 Deportment at the Theatre or Concert. 
 
 At the theatre, as in the concert-room, the same rules for 
 deportment are observed as in good society. We have, there- 
 fore, only a few remarks to add to what has already been said. 
 
 It is especially impolite and contrary to all decorum and cul- 
 ture, to rise too early at the close of a performance, or to begin 
 to prepare for departure by a putting on of wraps, shawls or 
 
APPLICATION OF THE RULES GIVEN. 211 
 
 hats (with ladies). In this way the close of the piece is ruined 
 for the rest of the audience as well as for the performers. 
 
 The Visit of Ceremo7iy. 
 
 Many reasons give occasion for this visit. Among them are : 
 The rendering of thanks, the conveying of some sort of tidings, 
 congratulations to superiors, requests for promotion, presentation 
 to those dwelling in a house to which one has himself just 
 removed, etc. 
 
 If we would enter a room in which we are a stranger, we knock 
 lightly but decidedly on the outside door, and wait for ^' come 
 in!" If this does not follow, we knock a second time ; if no 
 response then comes, we do not enter ; we withdraw unless a 
 servant is near from whom we may receive information. 
 
 If a servant is at hand, we allow ourselves to be announced ; 
 the servant opens the door ; and, after we have left in the ante- 
 room, all such objects as cloak, overcoat, cane, umbrella, etc., we 
 enter hat in .hand, wearing gloves, which on such occasions we 
 never lay aside, unless the master or mistress of the house 
 request a longer stay, in which case the gloves are removed. 
 Ladies (if the visit is not to a high personage) do not lay aside 
 their hats and cloaks. 
 
 If- a servant does not open the door, we open it ourself, accord- 
 ing to the rules given. (See "Opening of a Door.") 
 
 If we enter an empty room in which we are to await the person 
 visited, we remain quietly standing. To go around the room, 
 peering at pictures and furniture, leaning against the latter, open- 
 ing and gazing into the books lying upon the table, as if testing 
 things, is the height of ill-breeding. The one awaited appears, 
 we approach within a few steps of him, with a bow, then wait to 
 act as he does. If he remains standing, we do the same ; if he 
 has a chair set for us, or points to a chair and takes a seat him- 
 self, we also take a chair, according to the prescribed rules, seat 
 ourself with a slight bow, and in. a few words, make known our 
 errand. 
 
212 ESTHETIC PHYSICAL CULTURE. 
 
 When the visit is over, we take leave in the prescribed way. 
 (See " Opening of the Door upon Leaving.") If we have set the 
 chair ourself, we return it to its former place. (See ^'Setting 
 Back a Chair.") 
 
 If several persons are already in the room with the one to 
 whom the visit is paid, all rise when the master and mistress do 
 so, and remain standing before their chairs until invited to sit 
 down again. If the one to whom the visit is paid is absent, the 
 visitor gives his card to the servant with a corner turned down ; 
 if there are several persons to visit, a card must be left for each, 
 with this distinction, that the ladies only leave cards for the 
 ladies of the house, but the gentlemen for both the ladies and 
 gentlemen. 
 
 Audience with Princes. 
 
 The one entering steps, with hat in his right hand, after the 
 door has opened to him, two or three steps, according to space, 
 into the chamber or hall, and immediately upon the fourth step 
 pays his compliments, naturally, in the most dignified and rever- 
 ential way. After drawing himself erect, he pauses, his glance 
 fixed upon the' prince in deferential expectation. If the prince 
 motions to him to step nearer, he passes to a respectful distance 
 (three steps), makes a second bow, and pauses in silence. One 
 never speaks until the prince requests it. Then he tells his er- 
 rand briefly and clearly. 
 
 When the prince gives a signal that the audience is ended, the 
 visitor makes the Reverence at Departure, goes sideward-back- 
 ward toward the door, his glance turned to the prince. When 
 he reaches the door, he makes a second bow, and leaves the hall. 
 
 During the interview his glance is fixed steadily, but without 
 presumption, upon the prince. 
 
 If the prince enters the room when the one who has begged 
 the audience is already there, the latter, as soon as the former 
 enters, makes the first bow, and waits until the prince beckons 
 
APPLICATION OF THE RULES GIVEN. 213 
 
 him to approach or himself approaches. If the prince steps 
 nearer, the visitor makes the second bow on the spot. 
 
 If some one enters a hall, in which the prince and princess, as 
 well as the court-circle are present, the first bow is to the prince, 
 the second to the princess. 
 
 In coming, as in going, no notice is taken of the others pre- 
 sent. In going, the first bow is to the prince, the second to the 
 princess, but at the door only one bow is made. 
 
 If the prince approaches some one in the hall and wishes to 
 speak with him, the latter makes a bow at once. The same 
 when the prince leaves him. 
 
 It is of service to the dramatic delineator to know that those 
 around the prince, never bow when he is saluted, excepting when 
 a person of higher rank than they themselves enters ; then they 
 bow without waiting for his salutation. 
 
 CONCLUSION. 
 
 The Manner of Studying this Book without a Teacher. 
 
 If the pupil has a teacher, he will prescribe rules ; if the pupil 
 wishes to instruct himself there are only two methods in which 
 this may be done. 
 
 The first is : To execute all the movements of Physical and 
 ^Esthetic Gymnastics before a large mirror, and in the following 
 way : one does not take position while gazing into the mirror ; 
 he takes it in accordance with his own idea, retains it for a time, 
 and then gazes into the mirror to see if it is right. 
 
 The second method we propose to the pupil is far better. 
 Every one has a congenial friend who wishes in some sort to 
 share in this study. With this friend, he begins in the following 
 way : The friend takes the book in hand, seats himself opposite 
 the one who is practising, and while the latter goes through with 
 the prescribed movements, the former observes and criticises 
 what he sees. Then both exchange parts : the critic becomes 
 the pupil and vice versa. 
 
 This is the best manner of reaching the desired goal in a short 
 time and in the most direct 7vay. 
 
ERRATA. . 
 
 The reader will please note the following misprints which have escaped cor- 
 rection. A slight use of the pen or knife will, in most cases, rectify the errors 
 without much defacement of the page : 
 
 Page 13, last line, for imperfect word read clavicle. 
 
 Page 32, first line, for the present sentence read : F^'om the foriva'} d inclina- 
 tion of the head we pass to the left side, to the back, to the right side 
 and again to the forivard movement, repeating the tvhole exercise in 
 reversed order, the upper part of the body, etc. 
 
 Page 44, 9th line, for " LXVII " read LXVI. 
 
 Page 61, 19th line, for " finger" read fingers. 
 
 Page 62, 8th line, for " LXVII " read LXV. 
 
 Page 66, i8th line, for " LXVIII, a " read LXVII, a. 
 
 Page 67, 6th Hne, for " LXVIII, a " read LXVII, a. 
 
 Page 68, loth line, for " LXVIII, a, a " read LXVII, a, a. 
 
 Page 83, 8th line, for " LXXVIII " read LXVIII. 
 
 Page 131, 19th line, for " patomimic " read pantomimic. 
 
 Page 132, I2th line, for " patomimic " read panto7nimic . 
 
 Page 205, 22d line, for "setting" read sittifig. 
 
 Page 207, 8th line, for " loosing" read loosening. 
 
 (UNI7EESIT' 
 
PUBLISHER'S ANNOUNCEMENT.. 
 
 In his " Letters upon the ^Esthetic Education of Man," Schiller says : "I 
 ■do not overlook the advantages to which the present race, regarded as a unity 
 and in the balance of the understanding, may lay claim over what is best in the 
 ancient world ; but it is obliged to engage in the contest as a compact mass, and 
 measure itself as a whole against a whole. Who among the moderns could step 
 forth, man against man, and strive with an Athenian for the prize of higher hu- 
 manity ? Whence comes this disadvantageous relation of individuals coupled 
 with great advantages of the race ? Why could the individual Greek be qualified 
 as the type of his time, and why can no modern dare to offer himself as such ? 
 Because all-uniting nature imparted its forms to the Greek, and an all-dividing 
 understanding gives our forms to us." 
 
 And, after he has traced back this contrast between the harmoniously educated 
 man of antiquity and the one-sided culture of the man of the present to the dif- 
 ference between the mode of education of former times and that now prevalent, 
 he demands for the individual, despite the general purpose he has to serve by a 
 one-sided activity, the right for his own sake of a harmonious culture in all direc- 
 tions, thereby to bring the totality of his powers into exercise. He says this in 
 the following words : 
 
 . *' But whatever may be the final profit for the totality of the world, of this dis- 
 tinct and special perfecting of the human faculties, it cannot be denied that this 
 final aim of the universe, which devotes them to this kind of culture, is a cause 
 of suffering, and a kind of malediction for individuals. I admit that the exer- 
 cises of the gymnasium form athletic bodies ; but beauty is only developed by 
 the free and equal play of the limbs. In the same way the tension of the isolated 
 spiritual forces may make extraordinary men, but it is only the well-tempered 
 equilibrium of these forces that can produce happy and accomplished men. * * 
 But can it be true that man has to neglect himself for any end whatever ? Can na- 
 ture snatch from us, for any end whatever, the perfection which is prescribed to 
 us by the aim of reason ? It must be false that the perfecting of particular fac- 
 ulties renders the sacrifice of their totality necessary ; and even if the law of na- 
 ture had imperiously this tendency, we must have the power to reform by a 
 superior art this totality of our being, which art has destroyed." 
 
 Indeed, the exercise of this " superior art " is considered the great task of ped- 
 agogics since it has found a scientific basis. To educate man in the " totaHty of 
 his nature," is the end which the greatest pedagogues have set themselves and 
 their successors. Far enough as our age may still be from practically carrying 
 out this idea, it is acknowledged in theory and set up as the ideal, never again, 
 it is hoped, to be lost to mankind. Already the Germans possess a large litera- 
 ture pervaded by this idea ; the work having been, in this as in all other depart- 
 ments, divided and subdivided. For everywhere specialists work for the general 
 end. In order, however, that such requisite, one-sided activity shall not prove 
 misleading, each department must remain in conscious connection with the total- 
 ity of the task. Let us here briefly mention the two pnncipal points to be exem- 
 plified : 
 
 Education of the mind must never presume to thrive at the expense of that 
 of the body ; and physical education must not forget that it can accomplish the 
 highest ends only by aid of the mind. We have tO treat to-day of a book which 
 belongs in the latter category, a book on " ^Esthetic Physical Culture," that phy- 
 sical culture which, to use Schiller's words, not only " develops athletic bodies 
 but forms beauty by the free and equal play of the hmbs." 
 
 Oskar Guttmann's book, " Esthetic Physical Culture," a most valuable work 
 which has for years been acknowledged to fill a great gap in this department of 
 
literature, has just been published in a second revised edition. On its first 
 appearance, Dr. Feodor Wehl wrote: ''A beautiful harmony is here struck 
 between ideahsm and realism, which, understandingly called into life, can not 
 remain without triumphant results." Spielhagen declared that he had " read the 
 book repeatedly and with great interest, feeling true joy at the idea of the good 
 it might do." In concluding its review, a Hamburg professional journal said : 
 " In truth, our German literature possesses no work of this kind. That which 
 lends it peculiar value is the scientific basis on which the author rests." 
 
 The necessity of asking the author, who resides in New York, to revise his 
 book for republication in Germany, bears witness that his teachings have been 
 verified by practice. His instructions are intended for two classes of people, — 
 the cultured man in general and the actor in particular. His book, as he says in 
 the preface to the second edition, "gives, in a strictly rational, scientific, and 
 systematic manner, the means to aesthetically educate the body and its move- 
 ments, and prepares the pupil to enter upon the study of mimic art." His sys- 
 tem rests on the principle that gymnastics are the fundamental element of histri- 
 onic art ; not, however, in the ordinary pedagogical (physical) sense, but with- 
 particular attention to plastic art and sesthetics. But inasmuch as mimic art is 
 impossible without Desthetic gymnastics, so the latter are impossible without pre- 
 vious physical gymnastics. Who, in this connection, will not think of Goethe's 
 words which, in his " Introduction to the Propyloeum," he addresses to the artist: . 
 
 ' ' The human form can not be comprehended merely by the contemplation of 
 its surface. The interior must be laid bare, the parts separated, their union con- 
 sidered, their differences known, action and counter-action studied, the concealed, 
 the ground, the foundation of the visible must be learned, if we would truly 
 observe and imitate that which we see moving before our eyes in living waves, as 
 one beautiful, undivided whole." 
 
 Like the sculptor who is to imitate truly the human form, so must man, who 
 desires to use his frame correctly, " lay bare its interior to his consciousness, sep- 
 arate the parts, etc." In short, he must gain an insight into the anatomy of his 
 body. Accordingly, Prof. Guttmann begins his work with "Anatomical and 
 Physiological Principles," which he divides into three chapters, — " The Human 
 Skeleton," " The Muscles," and " The Mechanism of the Limbs." " Physical 
 Gymnastics " form the second part. The third, which is to be regarded as the 
 principal portion of the book, treats of ".'Esthetic Gymnastics," "The Plastic 
 Art," and "The Mimic Art." Four other parts are added under the titles: 
 " The Art of Dancing," " The Art of Fencing," "Main Principles of Dress," 
 and " Application of the Rules to Common Life, the Salon and the Stage." 
 
 It may thus be seen how systematically the book is arranged, and how compre- 
 hensive it is. We are inclined to dwell with special emphasis on the practical 
 use of that part which treats of the "Application of the Rules." In this 
 country, more than in any other, does the need exist for such directions in 
 Aesthetic Physical Culture. We have here no professional military class in 
 whose officers our young men might find models of at least physical culture. Nor 
 have we among us an aristocratic court circle whose members our ladies might 
 deem just standards of demeanor. In our country the number daily grows of 
 those, who, starting from humble surroundings, have become rapidly enriched, 
 and, feeling urgent cause and. the best will to demean themselves as cultured per- 
 sons, yet are at a loss after what models to mould themselves. In democratic 
 America, where every one possesses the right to call forth by self-instruction the 
 best that is in him, and to constitute himself the "model," a work Hke that of 
 Guttmann's ought to find a specially favorable reception. 
 
 Eighty-Seven Original Illustrations; Handsomely printed and bound; Price $2. 
 postpaid. Address the Publisher, EDGAR S. WER\ER, Albany, X. Y. 
 
FROM LEO KOFLER, TEACHER OF THE ART OF SINGING, NEW YORK. 
 
 [In his " The Old Italian School of Singing."] 
 We have arrived now at the last expedient of a singer's good style in singing ; 
 namely, the external dememior of the body and the facial expression. This sub- 
 ject ought *to engage a singer's very careful attention and study. This was, 
 hitherto, no easy matter. There was, to my knowledge, no work in existence 
 that treated this subject fully and systematically from the singer's standpoint. It 
 is true that in a number of books pertaining to the vocal and dramatic art, this 
 subject has been ventilated ; but nowhere has it received the attention it de- 
 serves, except at the hands of Oskar Guttmann, in his excellent work, " ^Esthetic 
 Physical Culture." He treats this subject in his own practical and philosophical 
 way, and I warmly commend his book to the faithful perusal of every student of 
 vocal and dramatic art. 
 
 REVIEWS OF THE FIRST GERMAN EDITION. 
 
 [Friedrich Spielhagen in Sonntagsblatt .'\ 
 
 I have read the book over and over again, with great interest as I thought of the good 
 it might do. Out of what rich source has the author drawn ! How clear is his proof that a 
 stiff, awkward body cannot assume the various forms demanded for the portrayal of different 
 characters ! It is certainly to be wished that this book will have a general circulation, for it 
 will be found useful, not only to the actor and orator, but also to non-professional persons, who 
 will learn in it what pertains to the drama and to oratory, and will be satisfied with nothing 
 less than genuine art. But to those who choose the stage or the rostrum for a profession, the 
 information contained in this book is indispensable. In it they better appreciate the meaning 
 and importance of dramatic and oratorical art, and be shown what obstacles are to be over- 
 come. They will learn that their profession is a noble one, and that to meet its requirements 
 necessitates the earnest and persevering use of all their faculties. Those who believe they 
 can accomplish everything through talent alone, without study, may exclaim, after examining 
 the book, '' The obstacles are insurmountable !" and make no further attempt. Such persons 
 would do well to abandon the dramatic and oratorical profession, for energy and perseverance 
 are qualities indispensable to the artist. Such persons as were born in unfavorable circum- 
 stances and could not receive proper culture, will find in this book the instruction they need, — 
 what they must learn and how to learn it. They will be convinced that an actor or. actress 
 must have something more than mere physical beauty if he or she would be successful. Dis- 
 ciples of art, be diligent ! Show that you possess artistic tastes, and that you are sincerely 
 striving to fulfill the mission to which you feel yourselves called! 
 
 t Leipzig y^z^r?«rt/.] 
 
 This is the first exhaustive scientific treatise on aesthetic physical culture, and is designed 
 not only for dramatic art but for all refined circles. This fact more than justifies our recom- 
 mending the book — it makes it our boundeft duty to do so. 
 
 [Hamburg Theaterzeitung.'] 
 
 In fact, our German literature possesses no work of this kind. Its special value is the 
 strictly scientific basis on which the author rests. The book is to be considered in a twofold 
 manner, — from the general standpoint of a person of culture, and from the articular standpoint 
 of a professional artist. The author proceeds from the right principle, namely, that every 
 actor must first be a man of culture. In this respect, the scope of the book is a masterpiece. 
 Prof. Guttmann's keen powers of observation, to which we had occasion to refer in reviewing 
 his '' Gymnastics of the Voice," are more strikingly manifested in ''Esthetic Physical Cul- 
 ture," and we urgently advise young persons of both sexes, who are anxious to improve them- 
 selves, to closely follow the teachings of both these books. 
 
 [Dresden Gazette.'] 
 
 A first attempt, but so successful that it has fully accomplished its purpose. Indeed, in 
 its clearness and thoroughness it surpasses all its predecessors. 
 
[Hamburg Reforvi.l 
 In all the research and wisdom, in all the thoroughness and system continually shown in 
 this work, the author steers clear of all pedantry, and nothing -s farther from him than the 
 idea that training alone will make an artist out of every grown persoi . The actor, like the 
 poet, must be born — that is his unchangeable belief. But when mental endowment and dra- 
 matic fire exist, the body is the-medium through which these must act, and to make it respon- 
 sive in all its limbs, muscles and nerves, such study and such exercises as given in this book are 
 indispensable. Part Third is the kernel of the whole book, and should be studied by all dra- 
 matic and oratorical students ; not, however, before the first two parts have been thoroughly 
 mastered. Indeed, it is a carefully graded text-book, no part of which can be omitted, if good 
 results are desired. The book is designed for all cultured circles. Its study is greatly facili- 
 tated by the large number of wood cuts. 
 
 [Berlin Music and Drama. "X 
 When it is remembered how often even prominent artists make themselves ridiculous by 
 violations of the simplest laws of walking, speaking, and especially gesticulation, the details 
 and exactness with w^hich the author treats of these matters will be duly appreciated. From 
 the discussion of the Hogarthian line of beauty, as the only sure basis for pleasing gestures, 
 down to the directions for pantomimic reading and writing, there are rules and principles which 
 every actor, singer and orator should carefully study. Every page contains something of value, 
 [Dresden Constitutionelle Zeitung.'] 
 Guttmann's book does not tend to transgressions (of too frequent occurrence on the stage 
 of the laws of noble proportions and beauty, nor does it lead to mec/iatiica/ acting. On the 
 contrary, it aims to correct these defects by recommending and giving the means to follow the 
 maxim, more and more passing into forgetfulness, that " nature is to be copied in its beauty." 
 We recommend Guttmann's book to the thorough study of all who wish to portray human 
 sentiments. 
 
 [Dr. Feodor Wehl.] 
 Just now, when the tendency of the times is to view everything, even matters of art, with 
 frivolous superficiality, special thanks are due the author, who so ably and successfully seeks 
 to place dramatic art upon a scientific basis, and more in accord with the spirit and progress of 
 the present day. A beautiful harmony is here struck between idealism and realism, which, 
 understandingly called into life, cannot remain without triumphant results. INIay the entire 
 dramatic profession, and all other persons of artistic vocations or natures, cordially welcome 
 this book! By so doing they will themselves be benefited, and also promote dramatic and ora- 
 torical art. 
 
 {lVese7'zettzcn£^y Bremen.] 
 Hitherto there has been no such a book, and for a pioneer one, ^'/Esthetic Physical Cul- 
 ture " comes surprisingly near the mark. From a thoroughly scientific basis, it develops, in 
 clear, comprehensive language, and with numerous illustrations, the main rules for aesthetic 
 attitudes and movements, as required in cultured society and in genuine dramatic art. The 
 work is doubly valuable because it lays down as a fundamental principle that the training of 
 an artist must be preceded by the training of a cultured person. 
 [Carlsruhe Zeitung.'] 
 Two things are particularly required of a scientific work like ''^Esthetic Physical Cul- 
 ture," viz., thoroughness and utility. These are found in Guttmann's book, and in the best 
 manner. Another requisite is intelligibility., and this, too, is there. The author has dili- 
 gently studied and mastered his subject, and has put his heart into the work, his own expe- 
 rience as an actor being of great service to him. The systematic arrangement of the book 
 facilitates its study and makes it a guide to all. We wish for it an extended circulation, in 
 order that people may attain unto greater aesthetic culture in all directions. 
 
 [Cologne Zeitutig^ 
 ''^E^sthetic Physical Culture" is of great value to actors and orators, to theatrical managers 
 and dramatic critics. It is als< a guide and counsellor for refined society generally, especially 
 for the rising generation, in questions of politeness and proper behavior. 
 
t 
 
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