The harmonic law of gesture is the static law _par excellence_.
It is of childlike simplicity. We employ it in walking; also when we
carry a weight in one hand, the other rises. The law consists in placing
the acting levers in opposition, and thus realizing equilibrium. All
that is in equilibrium is harmonized. All ancient art is based upon this
opposition of levers. Modern art, with but few exceptions, is quite the
contrary.
Here is an example of the observance of this rule: If the head and arms
are in action, the head must move in opposition to the arms and the
hand. If both move in the same direction, there is a defect in
equilibrium, and awkwardness results.
When the arm rises to the head, the head bends forward and meets it
half-way. The reverse is true. Every movement in the hand has its
responsive movement in the head. If the head advances, the hand
withdraws. The movements must balance, so that the body may be in
equilibrium and remain balanced.
Here is the difference between ancient and modern art. Let us suppose a
statue of Corneille reading his works. To-day we should pose it with
one leg and arm advanced. This is parallelism. Formerly the leg would
have been opposed to this movement of the arm, because there should be
here the expansion of the author toward his work, and this expansion
results precisely from an opposition of levers.
We know the ancient gladiator; we do exactly the opposite from him in
fencing.
Pages:
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71