MALLERY. J HISTORY OF GESTURE LANGUAGE. 289 
vocal speech of our time, but was tacit, being produced not by external 
respiration, but by internal. They were able to express their meaning 
by slight motions of the lips and corresponding changes of the face. 
Austin’s comprehensive work, Chironomia, or a Treatise on Rhetor- 
ical Delivery, London, 1806, is a repertory of information for all writers 
on gesture, who have not always given credit to it, as well as on all 
branches of oratory. This has been freely used by the present writer, as 
has also the volume by the canon Andrea de Jorio, La Mimica degli 
Antichi investigata nel Gestire Napoletano, Napoli, 1832. The canon’s 
chief object was to interpret the gestures of the ancients as shown in 
their works of art and described in their writings, by the modern gestic- 
ulations of the Neapolitans, and he has proved that the general system 
of gesture once prevailing in ancient Italy is substantially the same as 
now observed. With an understanding of the existing language of 
gesture the scenes on the most ancient Greek vases and reliefs obtain a 
new and interesting significance and form a connecting link between the 
present and prehistoric times. Two of De Jorio’s plates are here repro- 
duced, Figs. 64 and 67, with such explanation and further illustration 
as is required for the present subject. : 
The spirited figures upon the ancient vase, Fig. 64, are red upon a 
black ground and are described in the published account in French of 
the collection of Sir John Coghill, Bart., of which the following is a free 
translation: 
Dionysos or Bacchus is represented with a strong beard, his head girt 
with the credemnon, clothed in a long folded tunic, above which is an 
ample cloak, and holding a thyrsus. Under the form of asatyr, Comus, 
or the genius of the table, plays on the double flute and tries to excite to 
the dance two nymphs, the companions of Bacchus—Galené, Tranquility, 
and Eudia, Serenity. The first of them is dressed in a tunic, above which ~ 
is a fawn skin, holding a tympanum or classic drum on which she is 
about to strike, while her companion marks the time by a snapping of 
the fingers, which custom the author of the catalogue wisely states is 
still kept up in Italy in the dance of the tarantella. The composition 
is said to express allegorically that pure and serene pleasures are bene- 
fits derived from the god of wine. 
This is a fair example of the critical acumen of art-commentators. 
The gestures of the two nymphs are interesting, but on very slight 
examination it appears that those of Galené have nothing to do with 
beat of drum, nor have those of Eudia any connection with music, 
though it is not so clear what is the true subject under discussion. 
Aided, however, by the light of the modern sign language of Naples, 
there seems to be by no means serenity prevailing, but aquarrel between 
the ladies, on a special subject which is not necessarily pure. The 
nymph at the reader’s left fixes her eyes upon her companion with her 
index in the same direction, clearly indicating, thou. That the address 
is reproachful is shown from her countenance, but with greater certainty 
from her attitude and the corresponding one of her companion, who raises 
