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THE RENAISSANCE OF
THE GREEK IDEAL
iT)
%'
THE RENAISSANCE OF
THE GREEK IDEAL
BY
DIANA WATTS
(Mrs. Roger Watts)
NEW YORK
FREDERICK A. STOKES COMPANY
MCMXIV
Great Britain
April, jgi4
^^/^^,
{zi3^o)
who
by their love
have made
this
dedicate
and
it
and encouragement
book possible
in gratitude
affection
2052979
CONTENTS
Page
CHAPTER
Comparative Analysis
of
I.
Greek Development
Being
the Ancient
Human
CHAPTER
The
Definition of Tension
The Fundamental
Principles of
of
Movement
Mathematics to
Interpretation of Sculpture
lo
2i
32
41
67
V.
VI.
........
CHAPTER
Spiritual Reactions
CHAPTER
Mental Reactions
Human Movement
CHAPTER
The
IV.
CHAPTER
The Application
in.
.
CHAPTER
n.
CHAPTER
...
VII.
86
VIII.
.
103
115
vu
ILLUSTRATIONS
PLATES
FOLLOWING
PACE
NO.
The Herakles
The Author's
II.
First Position of
the Archer
Va.
VI.
Taking Aim
III.
IV.
V.
The
VII.
VIII.
IX.
X.
XI.
XII.
6
6
The
Swing Back
Final Position
The
XV.
XVI.
XVII.
XVIII.
XIX.
XX.
12
20
Four Positions
24
30
Made
XIV.
....
Designs of Curves
XIII.
Figures
44
44
54
....
....
III.
Two
44
56
Four Figures
58
58
60
ILLUSTRATIONS
FOLLOWING
PAGE
NO.
XXI.
XXII.
XXIV.
XXVI.
XXVII.
XXVIII.
Figures
60
60
Three Figures
62
62
Four Figures
64
64
64
The
XXX. The
XXIX.
XXXI.
Two
XXIII.
XXV.
60
A.
II
70
Apotheosis of Herakles
74
Heros
Combattant du
Louvre.
B.
The
Fighting
Theseus
XXXII.
A.
76
Position to
Author's Alternative
of Subiaco, Showing
78
XXXIII.
XXXVII.
XXXVIII.
of
80
82
Volte-face
changed
XLI.
XLII.
XLIV.
Position
XLV.
XLVI.
XLVII.
84
Profile
....
Final Position
82
82
XLIII.
82
Athena
First Position
Another Change of
80
80
....
XXXIX. A Complete
XL.
78
84
84
84
84
84
84
ILLUSTRATIONS
FOLLOWING
PAGE
HO.
XLVIII.
XLIX.
Exercise
of the
I,
Twelve Basic
loo
Three
Exercises.
Posi-
tions
120
Three
L.
Exercise
II.
LI.
Exercise
III.
Four Positions
130
LII.
Exercise
IV.
Three
Positions
136
LIII.
Exercise
V.
Three
Positions
140
LIV.
Same Continued.
140
Exercise
Two Positions
Two Positions
146
Three
152
LV.
VI.
Exercise VII.
LVI.
Positions
124
Positions
Same Continued
LVII.
152
Exercise VIII.
Four Positions
156
LIX.
Exercise
IX.
Three
Positions
160
LX.
Exercise
X.
Three
Positions
166
LVIII.
LXI.
LXII.
LXIII.
Three
Exercise XII.
XI
168
170
Positions
CINEMA
174
SERIES
FOLLOWING
PACE
MO.
I.
3-
Showing the Movement of the Archer in the Author's Reproduction of Herakles. Twenty-one Positions
The
Same,
Twelve
Showing a Second
Way
of
Throw.
Finishing the
Positions
Showing the Movement of the Leap of the Charioteer and the Descent from the Chariot in the Author's Reproduction of the
Charioteer of the Capitol. Thirty-four Positions
.
5-
Ten
of the
Twelve
-73
Basic Exer120
Positions
6.
IN Exercise
7-
IN Exercise III.
II.
Twenty-one
Twenty
Positions
Positions
xi
124
134
ILLUSTRATIONS
FOLLOWING
PAGE
110.
8.
9.
IN Exercise V.
Fifty Positions
138
142
148
154
172
176
10.
11.
12.
13.
IN Exercise XII.
14.
in a
Forty Positions
Thirty-two Positions
Forty-one Positions
Forty Positions
15.
16.
Xll
176
in a
in a
THE RENAISSANCE OF
THE GREEK IDEAL
CHAPTER
No
OF
....
all
the
lost
secrets of antiquity,
perhaps the
which produced the enormous physical superiority of the Greeks over any
most important
other race of
human
is
that
beings
known
to us either before or
its
people on
its
crest for
one
full
meaning
Law,
as individuals.
but are in
I
all
human
being,
and
condition which
is
nearer to
The
superhuman force,
and although much must be allowed for Homer's poetical
imagination, there
It is interesting to
is
no doubt that
this
extraordinary
how
this condition
Aristotle, Pol.
cess."
"
1338 b.), especially the condition required for athletic sucE. Norman Gardiner.
PLATE
Photo
I.
Ciraiitloii.]
The
force
control.
It
which
would be impossible
I
means by
the same which
will
probably be conceded
that
there
is
sufficient
Among
base.
first
statue
on which
tested
my own
recovery to
an
erect
principles of balance,
poise of
enough
all
the
most
position.
In
demonstrating the
animated statues,
of the
it
is
not
one position
3
it
is
To
prove
its
naturalness and
its
momen-
tary poise,
is
correct.
In giving photographs of
my own
reproductions of
how
achieved.^
I.
1
These cinematographic notes were taken in Paris at the Institut Marey,
request of Professor Charles Richet, the President, who most generthe
at
On an average about ten cinema
ously presented them to me afterwards.
were selected from lOO actual film representations, the sequence being sufficiently clearly illustrated by this average. It should be remembered
that the reading of cinematographic sequences begins on the left side and
continues downwards, following on to the top of the second line, and so on.
positions
The
first
-
PLATE
II
Copyright.]
First Position ot the Arcl.cr.
PLA'lE
III.
Cupy right.
Second Position of the Archer.
PLATE
IV.
Copyrights
final Position of the Archer.
CINEMA
SERIES, No.
**^
\:ssst..
Copyti^lU.]
Representation ot the
Movement of
(Enlargement of No.
iz.)
the Archer.
PLATE V
Pholo AliiKiyi.]
Hroii/.c
Museum, Rome,
PLATE
Va.
Photo Atinan.
Discobolus
of"
crouching one,
arrow
fly his
The drop
which he
in
is
let
in safety.
is
made
in
throw-out of the
left
leg,
in
front, to
all this
The recovery
to an erect
under
the body, and the straightening up of the right foot and
knee in appearance an extremely simple movement, and
position
is
left
foot
its
simplicity.
Terme Museum
in
Rome.'
bronze reproduction
Considered
in the
statically,
it
is
On
the contrary,
it
has often
as a contortion,
my
clearness.
restricted
interpretation
Although there
by Plate VI.
was no special mark to be aimed at nor even any restriction
as to latitude, it is obvious that the straighter the line of
taking aim, represented
would
and therefore
the competitor would probably take mental note of some
object he considered possible to reach, and aim for that.
I myself found I could throw farther when aiming at some
flight, 'the
travel,
striking
three
taking aim
is
That of
positions
from
followed
to
start
finish.
steps,
and the swing back of the discus arm on the third step,
accompanied by the simultaneous turn-back of the head to
allow the maximum play of the shoulder-muscles and
also to bring the
Plate VII.).
whole weight
on the
momentum,
final
held
in
abeyance, as
gathering together of
throw.
6
all
of
it
the forces
the
body
is
in
the actual
on the
right
PLATE
VI.
Copyright.]
Taking Aim
Pr.A'IT,
The Swing
VII.
Back.
PLATE
VIII.
Copyriglu.]
The
Final Position.
CINEMA
SERIES, No.
Copyn^hl.]
Movement
of"
the Discobolus.
2.
CINEMA
SERIES, No.
Copyright.]
Second
Way
<if
Kinisliing the
Throw.
3,
whose
any pull
to prevent
Looking
notices
decided
the
centre of gravity
end on, so
statue,
this
at
lean-over
the
to
although the
left,
is
one
speak,
to
This
due
is
to
which averaged 10
The
lbs.
position
final
whole body
with which
will travel,
as the
it
leaves
and
this
the shoulder-swing.
discus
socket.
instance,
to
The momentum
momentum
with which
is
of
of
on
after
is
in the
in
throw,
the
Straight
and
arm
force
far
it
of
alone,
in
there
as
it
loose, free
needed
is
this
is
has to
The
force
no
fly,
or
on the
rapidity
this acceleration
depends
The
forward.
swing
its
body weight
and acceleration
travelling power
the uplifting of
No
follow
Dis-
the
flies
is
the
of
and
Cinema
No.
Series
arm
of
with
its
forward foot
The
gravity.
whole body
lifting the
still
and when
it
movement
the whole
remembered
is
itself far
the
been
position of
central
how
into
straight
in vertical line
which
be seen
will
it
2,
it
the rapidity of
that
is
special
pose, the
The
small.
differences
final position
tremendous tension
rapidity of rotation,
is
the
trajectory,
reached.
At
the
body
the
instant
over the
which movement
the
an
moment
drawn
is
arrest
foot,
left
important
up
factor
discus
the
to
full
its
in
the
leaves
height,
distance
the
of
from
overbalance
final
position
is
all
the
erect,
is
force
body
is
of
the
more
throw.
erect,
it
takes
with
tense
hand,
first,
Thus, the
with this
to the line of
is
the
arm
when taking
as
arm
itself is
above
the head.
Cinema
a
Series
different
discus
the
coming
turned
to
In
this
full
arm acted
instead
series,
all
The
hand.
the
leaves
lift
of
itself,
in a circular leap in
of
tension,
as
it
were,
which the
right
as motive-power.
final
reproduction
position
of
that
of
this
series
represented
an almost exact
is
occasionally
vase
in
paintings, a photograph of
find
that
back
to
what
see
other
explanation
boundary.
could
It
is
account
difficult
for
shown
for the
the
vases.
air is
arm-swing which
is
body round
prove
It
it.
that
positions
in
this
is
not
each case
The sequence
so.
is
only
and balance.
possible
elasticity,
of
all
three
to achieve with
exceptional activity,
CHAPTER
II
THE
age of
five,
AS BASE
their
ing.
illustrations of this.
We
that
the
was made
planted
to
in
line
with
the
its
heel
turned
never
outwards.
Finally,
object of
its
but to learn
when
training
how
gymnasium, the
to develop
its
muscles,
of itself
on the
instant.
The
result of this
was twofold.
In the
first
place,
it
lO
command
of a perfect
illustrations
evidently
attached
lines, the
trainer standing
exercises
to
some
position
special
Museum
represents
knees, with
distance
front
in
carries, as
trainer
One
vase
behind
long
stick,
it,
the
in
baby crawling on
holding out
usual, a
balance.
of
of the importance
in the
object,
distant
is
on vases
its
British
hands and
her
The
hands.
trainer
tion in
its
maximum amount
of
activity,
of the
The
feet,
in balance,
numberless
of
the
illustrations of
foot,
to
special
movements on
to
the ball
dispense entirely
him
of the foot.
foot.
that
This
is
The form of
of a modern
which
is
Greek
different from
the
expressed in nearly
all
of flying
antique representations of
II
due
is
to these
wonderful
The
feet.
first
three
toes
like fingers;
toe not at
little
all,
the
wing on which
the
Nature,
degree
given
if
Plate IX.
from
interesting
is
years of distortion.
of
spite
human
all
in
my own
The
view.
this point of
foot without
worn,
soles
in
No.
that
2,
case
the
worn
Bond
at
of
No.
ago, and
years
five
and made by an
In Diagram
is
in direct
which
a
the invariable
is
To
woman.
has
is
to
be
quite
possible,
^
12
it
bent
of
making
the
meets the
to F,
modern shoe
this
particular
at
of
the
point A,
This contortion
joint
it
line
fit
way
is
in size.
partially
PLATE
No.
The
foot
IX
No.
I.
when wearing
the
The
foot
2.
when
alIo\ved
perfect freedom.
13
revolving
perfect balance
on
was made so
more
carry
but
it
to
facilitate
weight of the
the
But, what
is
still
more important,
this
contortion makes
all
toe (B),
of
all
Diagram
it.
on Plate IX.
make
will
this
clear.
represents the junction joint of the big toe and the ball of
the foot,
to F.
by the unnatural angle of
unbendable renders C also rigid
possible bend in the forward part
straight line across the ball from
The
of that line
from
to
depends for
and
movement
actual
to leverage
that
therefore
the
of
to
the foot
D, and
is
The
fact
is
is
only
in
in front
the only
elasticity.
of
the
foot
and D, and
elasticity
it
all
is
is
thus restricted
as there are
no
joints
on the freedom
of
A,
the
movement
fail
to be
performed
in jerks,
AF,
the
produces
weight
of
callosities
the
individual.
Diagram
is
good
Diagram 2 on
five
years later.
is
unbendable.
Plate IX.
Joint
is
AF
to
This
while
enormously lengthens
it
that of
to
D,
upwards
to B,
the length-
viz.,
from
point
more
becomes
to
and on
to
constitutes
complete leverage
is
A, and
carried forward
the line
on the
to
the
use
of
the
of
the waist
is
now
traced
itself,
The weight-
in
forward
part of
Having
the foot, and
toe.
it
IS
becomes
works
in
strongly
elastic,
and
the
heel
itself
of
beauty, even
after
many
having lived
years in
a distorted condition.
at
such length
that has to
more rudimentary
needed
will
become
period
little
toe,
which
when he used
is
all
The more
is
the
only
The gradual
In the
all
four extremities
was
that
of
wide at the
the
on two
But
toes.
will
his
knees are
legs.
In
at present,
all
still
bent,
is
primitive tribes,
he
bend
And
different races.
many
The
is
original size
when
little toe,
still
becomes
an uncertain
less
than half
To
this
intelligent;
is
awakening
The ape
developing into a
result, the
begun
to
importance of
becoming more
reasoning animal, and
is
throw stones
of the intelligence
may
may be
suggest that
attributed to the
To
is
at this
point
end
at the
main bones
of
and
the leg and instep which
suffices,
narrowing of
movement upon
the
the heel.
through the
feet,
The
feet,
first
human
to register
being.
any alteration in
of
first
to receive
It
this training
means an
body, and at first
in itself
the springs
reassert
feels strangely
themselves, as
which
weight of the
unbalanced
they surely
but
when
will,
one
may
It
effect of
toes.
This
it
would
i8
the body,
upon
the toes
if
;
held erect,
but as these
are unable to
of adjust-
become bent
Thus,
while the springs of the instep are strained to breakingpoint, those of the knees never reach their full stretch,
eventually
become contracted.
The
and
modern
toe
the
of
shoe,
exaggerations.
line
as
the
to
beauty of
carry conviction,
will
photograph of
Plate X. shows a
to give a
small
one of these
foot in
on the other
amount of assurance
inside
my
three-quarter
my
the
have thought
straight
it
best
actual shoes.
pair
of
walking-shoes
are
with
identical with
those of the indoor shoes, but with the small heel added
for protection against street
Personally,
would recommend
together
work
with a
mud.
freely;
soft
felt
soles, to
the
inside
sole
for
cold weather,
ensures more warmth than a thick hard sole can ever do.
19
when
the
toe,
walks
with
of
over
the
contortion
instep,
The
no
artificial
explanation
cost
sandal.
is
of
the
all
of
obviously
very
heel
although there
heel
is
natural
the
first,
at the
muscles
performance of marvellous
feats
toe, but
balance on the
of
when
it
is
not possible
to continue these
acrobats,
and resulting
inevitably
in
the
abnormal
after
reaching the
20
X
w
h
CHAPTER
III
DEFINITION OF TENSION
AT
THE
the
beginning of the
chapter,
first
went
last
Palaestra was,
to the
how
said that
when
to attain in
it
its
on the
itself
instant.
The meaning
of
word
this
**
and
unnecessary force,
strain of
it
is
generally considered
as a condition to be avoided.
The
That which
is
as follows
" Elasticity."
is
" Tension
is
is
the stress
when two
bodies are
connected by
Tension
term,
stress,
a string,
is
obviously
stretch, or,
to use
Rev.
J.
L. Robinson,
the technical
of
elasticity
M.A.
21
subjected
to
This
it.
condition
of
stretch
all
was
the
exercises of
Up
Relaxation
can be said to be executed without strain.
of this stretch means disconnection of one set of muscles
with
another,
involving
movements,
independent
inde-
reactions,
Movement
occur:
". .
Is (the) elastic force of rebound due to a physical property of
the muscles, or is it due to an additional expenditure of energy? Weber
demonstrated that a muscle when in action acquired, by some intimate change
within its fibres, a greater elastic force, and that it was this force which
produced movement. The same thing happens, then, in a living tissue as in
.
is
made
is
toe,
means of which
They
a physical property by
It
possesses in consequence
vital
to Professor
22
Marey's query.
DEFINITION OF TENSION
been called upon to share
work
in the
required, having
in their turn
come
directly
the case
may
be.
Tension, then,
with headquarters
centre of
is
;
gravity, the
centre of
main weight.
the
This
maximum
of
If
as
still,
in
move-
is
slack,
it
means
just so
much dead
dislocated.
to
the
if
the
Dislocation
disturbance of
Imagine a
You
stride.
But haul
of the fact
alone, the
is
ever
felt at
weight of fatigue
lack
tension
of
is
in
It
is
at the
the
most
is
bone
support for all that part of the body which extends from
But in reality there is the
the lower ribs to the hips.
muscle of the diaphragm going through the centre and
those of the abdomen in front, while at the back are those
forming a thick band on each side of the spine and
apparent,
there
being nothing
but
the
spine
as
dorsi.
The
of exaggerated stiffness.
in these
setthng
muscles
down
is
of the
body
much
like
an
egg
in
The most
it
abdomen and
the
cuirass
in the
X
w
h
<
DEFINITION OF TENSION
the body lifted from the
movement
of an infinitely freer
was
sufficient to
The new-born
little
its
is
all
centred there.
of the hips.
fine
begins
infant
diaphragm, and
life
Later on,
itself
and slim/
life
movement
This in
weeks of
discovers that
it
has
body,
lies
tension,
and with
fire,
command
in fact, will-power
much to
mal-development come from
It
is
not too
all
of
it,
motion becomes,
at will
of
made
the
evils
of
of
assert
that
all
the
ape
may
reasonably be ascribed
to
One of my pupils discovered not long ago, in the British Museum, the
vase-picture represented on Plate XI., and, struck by the similarity in the
teaching of the Greek master to those principles emphasised by myself, had
^
the picture photographed and I reproduce it here. Note the position of the
pupil in which every muscle is slack, how the air of depression is increased
Ijy the design above his head which the artist has made with an intentional
overshadowing bend, that he might emphasise to the utmost the slackness and
weighed-down appearance of the pupil. Then look at the Master, and note
the strength and uplift of his poise, which again is emphasised by the direction of the design. Surely a fine object-lesson this, in the art of Tension!
25
the
gradually
the
increasing
diaphragm
of
erectness
resulting
from the
With
carriage.
the
new
medium
It
of a higher control.
interesting to note
is
on
carried
America
criminals.
class
drag their
One
in
It
that experiments
being
walk of low-
feet
blocks of
are
wood
in the exercise-yard.
back
and even
this
Looking
at
a lecture-room full of
strikes
one
is
prevalence
the
And
girls,
or
thing that
of the so-called " roundthe
first
effort.
What one
yet
hour.
26
when
all
evil,
obliged to
sit
still
for
more than
half
an
DEFINITION OF TENSION
the " round shoulder."
backed
If
one
sits in
an ordinary straight-
round-shouldered way,
it
be noticed
will
while the
that,
once gives
falls
upon
way and
collapses in front
outward,
curves
while
these curves
is
the
The
produced by
which
at
waist
effect of a
reversal
of
This
should
reduces to a
its
support, which in
minimum
This position
condition.
involving as
it
definite effect
This
stretching
of
the
diaphragm,
upon
the
power
of concentrating the
mind
They knew
sitting posture as
To
all
perfectly-balanced
Henceforth,
body
will
this
movement
stretching
is
that
of
into
is
stretch.
full
first
it
must
any exercising
that
practically useless
where
fine
at.
and when
this
becomes easy
of accomplishment,
will have
clear road
all
greatest ease.
Preliminary Position:
be
no weight on them.
to their full
sides,
Now,
lift
their
shoulders
full
28
length at the
fully
extended.
back on the
the
The
spine),
by
stretch.
DEFINITION OF TENSION
pulling up of the waist muscles with a simultaneous down-
ward
stretch
shoulders.
of
the
diaphragm unnaturally by holding the breath while stretching it. Any check on the breathing produces rigidity, and
therefore the stretching of
of
with the
free
all
in
movement
muscles into
the
of
On
when completely
place,
it
is
the average
or joints.
constitutes a
When
any
is
of the
whole body
drawing
movement
tensed.
The
it
this condition
the least
my
meaning.
said before
the
diaphragm is placed
Here, as
It
is
the middle of
in
interesting to
movement should
notice that when this part of
control, movement in water
all
the
is
the result.
29
required owing to the fact that the support for the whole
is
on the
distributed equally over the whole
is
the foot;
in the water,
movement
radiate
in all directions,
free to
is
The
of
is
next
movement which
upward stretch
forcing downwards of the arms,
follows the
effected by a definite
movement
of
This should be
On
this
should play
of the
pleted
If
the balance
is
perfect,
it
will
be possible to draw an
imaginary
line
perfectly
line test
will be
30
found that
it
may
passes through
In the
be applied,
all
the points
hope,
profile
when
it
named.
X
w
H
<
DEFINITION OF TENSION
XII/ and
Plates
arriving at
XII.^ show
for those
difficult.
The
who
cases a help
find the
is
in
the waist
Plate XII. ^
XII. ^
is
many
much
of
of
effort of trying
to reach at
as possible
an alternative method
is
the
collapse
with
the
let
same
in profile,
the muscles
lowering of the
and
is
down
full face,
arms.
Plate
study of detail.
After what
all
to repeat that
An
it
dancing sandals
at all.
should be made,
when
in this Preliminary
rest of
may be in
movement being made by the
the
fall
the instep.
31
CHAPTER
THE FUNDAMENTAL
HAVING
for
IV
PRINCIPLES OF
MOVEMENT
now
explain the
are based, a
definite
principle
exercise,
shall
it
make
movement in
one may divide movement
a short analysis of
Roughly speaking,
distinct types, which I shall
respectively.
different
entirely
cally.
These
It
is
into
two
different types of
results
with
call
general.
movement produce
sequential
movement alone
that
the
become
purely mechanical
separately
necessarily
position,
very limited.
whether
corresponding break
in
all
This
produces a
which
it
is
is
the result of
a Httle practice,
may become
mechanical.
Sequential movement, on the other hand, presupposes
an uninterrupted continuity.
a following-on,
broken
in
mencement from
is
is
beginning
the
this
If
necessitated.
is
It
is
on account
the
of
needed to perform
unbroken
mind
to
extraordinary
a
continuity
pass
number
rapidly
type
of
of varied
movements with
concentration
that
to
sented by
by
all
all
that
obliges
the
another with
clear idea of
concentration
sequential
and
we
interest
may become
get
the
physio-
And
in habit
and
and
highest
in
the
movement
activities
nervous
the
of
system."
unchecked
following-on of many changes of position, regulated by a
balance perfect enough to produce definite rhythm, and
Sequential
these
changes of position
necessarily related,
not
are
and involve
smooth,
involves
arbitrary,
tense
but
are
connection with
33
through confHcting
On
strains.
force which, in
giving
as
economy
of
greatest beauty,
it
base.
its
its
difficulty arises
is
exactly
It is
of gravity over
gravity
base
when
when
the body
The
stationary.
is
mentswalking.
one foot
The
to another
act
weight from
passing the
of
results as
sequential move-
all
an
rule in
effort to feel
body
to trust to
it,
The way
speak.
movement
movement
in
walking
to carry the
body
is
described.
the
ideal
in
the
condition
The law
poise
of
of rhythmical
requires that
the
care
elastic
tension
movement which
constant
over
base.
its
of a reliable base
gives
centre of gravity of a
and
feet.
The
half, the
effort
already
covered.
This accelera-
tion,
point
movement.
resistance
in
the
All disconnection
exactly half
of
loss
dynamic law
and
action
that
the
disconnected
angles imply
which
reaction,
results
according to the
force,
reaction
and
equal
are
opposite.
thing.
means angles
and
between sequential
contrast
of
can
Continuity
be
only
movement, by being
Sequential
by
expressed
circular,
its
curves.
capable
is
of
non-resistance,
Sequential
and thus represents the maximum force.
movement, therefore, expresses the thing that is Infinite.
Perfect sequential movement by which I mean that
which maintains
perfect
equilibrium throughout
can
This,
together of
linking
all
will
be remembered, involves
muscles
the
of
the
most
muscles,
the
all
at
full
representing
movement
it
is
stretch.
less visible
degree of Tension,
complicated
vibratory
The fact of
can be maintained.
having reached the climax of the combination of many
which perfect
stillness
produces
light,
which
is
many coloured
rays
colourless.
balanced
when
it
effort,
is
the result of
the
late
35
Temple
of
Neptune
in
at
its
movement becoming
combined and perfectly-
when
invisible
balanced
**
trds
mfeme pour
grace, qui
fort,
s'apaiser, et
n'a rien k
que de
n'est
the result of
effort
est
II
is
it
la
faire
avec
la
grace,
la ddbilite
la
vraie
...
II
moins
devient
puisqu'elle
intrinseque
pour arriver ^
d'elle-
visible."
becomes less
This is the ideal strength; and the basic
visible.
principles of the finest architecture are the same as those
which govern human movement, viz., the power of lift
More
more
inherent,
real,
the
as
effort
may be
they
to
applied,
ment
of
life,
with
complete order of
a
new power
understood,
sports, as also to
all
clearly
the
certainty
activity,
of
finding
more
of control.
selecting
omy
essential.
36
that, to
The
training
war.
is
Among
primitive
peoples,
wrestling
of
to
first
to
is
whereas before
in
his
time
it
made an
consisted
art of
of
the
eyes
and
ears,
as the
The
also later
rules
on
in the National
Games
fall
of
of the Greeks.
an athlete
his
he wished, but
he
if
fell
was
tory
called
to
movements represented
as
nearly as
It
is,
possible
the
actual
The form
on
page
from
Professor
" Hellenika Gymnastik und Agonistik, "
39,
resemblance of
Jujutsu,
identical
to
taken
some
those
with
the
thrower
his
opponent
of
the
Japanese
No.
of the Greeks.
the
upon
on
his
his
knees
shoulder.
more
show
the
close
throws used
1,
especially,
drops
book
Krause's
is
which
in
having
after
in
hoisted
No. 2
is
much
obviously the
hand
being
practically
the
erect,
Fig
I.
Fig. 3-
only
essential
instead
of
difference,
crouching on
Fig.
while
bent
he
is
knees.
2.
Fig. 4-
The
man
known
and practised by the Samurai nobles alone, until comparatively a few years ago in 1860, I think when the
general public were allowed to learn. With the strange
to
39
all
practical
among
which,
of
sides
wrestling,
the
genuine
self-defence,
is,
study of
then,
all
for
the
Law
of
Balance
in
found
movement,
the
body
with the
least
expenditure of energy.
This law,
40
exactly
CHAPTER
V^
IN
last
another,
chapter
bound by
certain
arbitrary change.
Movement which
metrical,
pivot
is
its
altered.
The
by the movements of
that
for
viz.,
the
centre
of
gravity of
the
axis of balance.
When
of a
common
axis,
the
beforehand what
have never been taught mathematics. It is
written for the average reader, for whom I hope it will present no difficulty
^
like to state
or ambiguity.
41
are
true,
geometrical analysis.
which
to
is
and
be one whose
in length,
its
it
is
centre.
The
proportional sequence
a true curve.
false curve, to
submit to
they
say,
is
with relation to
that
true curve
may
also
radii
have been
would
like to use
In preference to the
word "pivot"
the expression "axis of balance," as giving a fuller conception of centre of gravity in space than
on
a plane surface.
The
axis of balance
pivot
is
the
represented by a
is
vertical
line
through the
constitutes
latter
the
pivot,
viz.,
only
the
I
point
of
when any
of the weight
is
no moment
is
trans-
to
the
variation of direction in
42
no way
falsifies
the curves
when
that
the axis
itself vacillates
to say,
is
when
Only
it
strain
its
necessitated by the
simultaneously
with
the
moving
arm and
still
Some
intensely
this subject a
who
interesting
discoveries
were made
in
E.,
extraordinary
arm whose
at the
pivot
was
itself
travelling
round an
ellipse
continuously.^
He
one
small
vertical
of
the
pivot
point was
following
wheel
at the
more
*
or less complicated.
I
am
43
ratio
The
produced
bar
pivot
its
completely
different
curves;
and
in
all
Colonel
Hippisley
has
me
to
Plate XIII.
problems which
his
own
As regards
the
solution
And
in a
from being
so these wonderful
and
set out.
exquisite designs
remain
There
seems some
service
in
possibility
astronomical
that
calculations,
where the
ellipse
would appear the most frequent form of planetary movement; and the idea presents itself of some unknown
centre of gravity operating on an immense scale upon
the whole system of worlds, forcing upon each, according
to its distance from that centre, gyrations from which it
cannot escape any more than can the following wheel
44
PLATE
XIII.
endless.
45
PLATE
jg
Diagram showing
XIV.
lines of entrance
and
exit.
PLATE XV.
complicated puzzle.
47
It
Hippisley's
will
instrument from
discovery of Colonel
own
little
curve does
not
does in yours.
to
assert
am
mention
role
this
you
in
star,
the
my
subject.
as follows
the
theory,
as
it
my
was the
the nearer the follower was to its
interested
more
in
lest
in
guiding
any
remember, what
opinion
exercise
I
me
my
general
bearing whatever on
has no
it
this
connection with
in
and the
movements,
geometrical
be that
Hippisley's
mentioned
have
guiding
its
closely
it
curves
followed in
its
footsteps,
talking
nonsense.
It
is,
nevertheless,
true
48
sensitive physical
result
connection with
reactions
while
at
force
and share
itself,
in far-reaching
force
vital
vital
is
made
visible
is
to
by
mathematical
and
related
sarily
The
law.
difference
changes
arbitrary
is
bound
between
neces-
geometrical,
is
of
movement
is,
the
are
first
mathematical
inevitable
law
represents
geometry,
which,
when
changes may
arbitrary
interesting, but
not
be
do not wish
both
to imply
pleasing
and
be true,
its
beauty
elaboration.
so
defined
clear-cut
in
its
Com.plexity there
that
the
perfection,
mind
free
is
from
may
be,
of force but of
but of an order
that
is
superfluous or
inessential.
49
;:
complex
movements an appearance of great simpHcity and ease
simpHcity, because each movement is so right and true
that it is a complete thing in itself, while yet it is an
indispensable part of the vt^hole, and the mind is left
undisturbed by any feeling of uncertainty
ease, because
through this precision the fatigue of vacillation is absent
there is no expenditure of force on the superfluous,
because the superfluous no longer exists.
definition
even
gives
to
most
the
which
abeyance,
proof
it
while
that
They
My
each
first
exercise
worth while
proved
sufficiently
interesting to
make
it
some proof which should be inconalthough the freehand drawings I first made
to obtain
trovertible, for
and
it is
The
Institut
Marey,
to the
generous
that I
owe
the proof
was eventually
lights
movement
represent
the
movement
leg
the complete
movement when
which
is
latter
Not only
vertical
plane
only,
plane,
this
line
two planes
lights were
designs there-
on the horizontal
of the intricacy of
that of the
arms
added,
plane.
my
prints
about thirty
head, rendered
or
distorted,
Two
on
is
above
either
merely.
all
The
attempts
as well as
in the
first
made
The
foot.'
of
represented
each
negative
all
feet in
curves in that
as
straight
lines
given.
The
are
from above.
as
it
^
plane,
to avoid,
some
cases
the horizontal
" procede."
in
Professor Marey,
vertical plane, calls
but
in
his
"La
Mons. Lucien
51
curves
all
the
lines.
is
exception,
described in
graphic prints,
Besides
the
two photo-
one of the
of each
space.
movement
the
of
little
sequence of a
series,
version
of
manner
their
designs,
which
with
these
mystic
XVI.
This
prints
demonstrates
in
The
a
geometrical
very
striking
interpretation.
is
known
the
Take,
for
instance,
Plate
,^
design represented by Exercise IV.
none other than that used by the Chinese, Hindus, and Egyptians thousands ^of years ago to represent
and
is
Eternity
*
ment
the
thing that
is
Infinite.
at the
52
have
left,
than
faults
an
as
illustration
perfections.
its
is
you
If
will
turn
its
the
to
movement
in the
of an otherwise very
fine curve.
ground before
came
to
have
made
a curve that
it
movement when
on the opposite
side.
have rectified
this in the
geomet-
rical version,
At
the
time
first
sensation
in January
among
those of
my
some
little
It
is
far
symbol of
eternity, except
that
may be
demonstrated by
human movement
is
which I
The elaboration of design, conceived from human
applications
spoke.
of
the
fundamental
principles
of
S3
perfect condition
in a
undoubtedly form a
which
in
tecture,
and expansion on
lift
harmonised movement
much
so
**
so that one
to the
lifts
used in archi-
to the curves of a
breaths.
for that
basis
reliable
equilibrium, would
of
harmony
Homer
in
Greek
original
its
wedges and
aid of
harmonies
'
of
mental
union, or
expression of
to
It
some
sort that
form the
Isle."
It
also
raft
Odysseus
whereon he
came
and
joining together,
by the
is
mean
to
on an
later
Law and
represent
sound.'
"It
meanings.
different
its
*
meaning balanced
sense,
is
by perfectly
balanced rhythm.
By reducing
whole
the
geometrical demonstration,
of
series
it
basic
equilibrium,
force,
principle
economy
is
the
result
of force
of
which
Control
expression
is
over
;
these
the
are
expenditure
only
"
Makers of Hellas." E. E.
of
possible
54
prove
of
that
equilibrium.
reserve
and beauty
to
The combination
exercises
G., p.
103.
perfect
effort
under a
PLATE
XVI.
Copyright.]
they
as
be
that
to
is
say,
upper
the
one
is
land
not
quite
the
in
right
line,
The photographs
of the
whole
these
no way detract
in
demonstrations,
hope
and only
from
apparent
value
their
make
as
rather
it
them untouched.
make another series, in which most
meaning,
to
faults are
contrary,
have
in
the
The key
to
the
the
faults
disappeared.
is
the
apparent
the
of
is
on
but,
Later on,
many
correct.
is
from a
judging
vertical bisecting
but
spot,
first
left
examples
movement
of
geometrical
will
have
Plate
XIX.
version,
and
as follows
is
takes
right
foot
spot
on the
pivot."
The
toe-light
line
The
small
of
both
starting-point of
the
back
step
between
feet,
the
until
and C, and
on the
marked " heel
heel
is
is
curve from
the
right
to
foot,
while
that
is
formed
pivoting
by the
on the
heel,
The
show direction.
large curve from A to D, also marked with arrows,
is that produced by the left leg movement as it swings out
wide from the hip, carrying the whole body round on its
and
pivot
is
marked with
heel.
The
arrows
dotted
lline
to
from
to
represents
55
left
back
curves
Now
look
Exercise III.,
at
left foot.
the
shown on
and
his
this
moons showing
little
constellation
Plate XVIII.,
they
formed
and B.
by
How
Refer
and,
This
now
will
be described
mind
the exercise
point
first
From
lunge of the
itself,
left
on Plate XIX.,
bearing in
represents the
later on.
to
Xm
foot,
it,
take
as the
the centre
which
stays at
PLATE
XVII.
Copyright.]
knee, a
position
special
formation
the
of
it
straightening
is
left
knee,
upward
as,
in
its
body, turning
narrowing
it
sweeping
by arrows going
represented
point B.
at,
wide,
and
The
curves.
causes the
it
It
will
now be
seen
circle,
it
first
position, the
it
will
be
noticed
at the
the
dots
are
culmination of each
of
the
placed
upward
repetitions.
straight
which
lines.
is
of
The
little
of
circle
dots
in
the
centre,
infinitesimal
ball
accurately
curve,
They
how
the
octagon,
left
foot,
outlined
which,
each
right-angle
S7
turn
makes
and
body,
the
two
prints
with
the
recovery
two
The
movements.
acute-angle
same
exercise, but
movement
out.
This
left
viz.,
the
on a
left foot,
makes
and falling
being immovable
rising
body round
The
to a right angle.
is
barely
body remains
almost entirely over the foot, there being no spring back
of the recovery to disclose the left foot light, which is here
shown only three times by accident. This exercise, in
which the recovery movement is eliminated, forms a
wonderful test for the tendon Achilles, which has to bear
the greatest strain; for, after each swing back of the right
leg, it misses the relief of the recovery movement, and is
obliged to start immediately on the upward spring for the
and By four
next rising curve. As in the case of
prints, as the
repetitions are
The
leave
the
arrows
It
its
aid
will
puzzle
curves.
Plate
of
elucidate
for
XXL, where
the
and a curved
^
58
keen
those
that
step
For explanation,
is
the
sequence
first
from
backwards, followed by a
body,
shown on
are
correct solution
must be remembered
taken
the
as
it
decipher
by
figure.
left
to
XX.
enough
to
quite possible
lettering
of
the
and
series.
the step
is
right-angle turn of
Plate
178.
foot
back
PLATE
XVIII.
Copyright']
PLATE
XIX.
Copyright.]
to
C.
from
up
D.
to
curve as X, as there
the
no pause
is
back
at
point,
this
at
of course, to
D, by bringing
at a right
angle to the
first
position.
The
D,
the
is
body facing
Three photographs
two prints,
and B,
first
is
shown here
for the
with
A, and
noticed
how
be
will
It
between the
two negatives
It
is
formed
by those which seem
is
more
correctly
traced
in
of
this
circle
set.
is
The
its
solution.
It
that
59
the
while the
direction
whether the
The
first
next
step
is
design
shows
photograph, although a
shown on
is
backwards or forwards.
is
and
the
of
of the body,
the
Plate
last,
Exercise VIII. by
is
The
XXII.
itself,
greater intricacy of
full
it
is
is
its
geometrical counterpart
pattern,
may be
architecture.
angle to the
first
to trace the
movement
position.
of
Remembering
this,
it
is
easy
curves also
The
circle,
reason
PLATE XX.
Copyright.]
{Different negative.)
I\'.
PLATE
XXI.
XX.
PLATE
XXII.
Cofiyriglit.]
PLATE
XXIII.
Copyright.]
obHged
therefore
to
make
right foot
its
complete
is
it
make
is
the
half-circle.
its
star
are in
all
definition of
Prints
owing
A and
to the better
extraordinarily
its
points of
the triangle
all its
as
is
If
diagram
is
made
of this design,
points connected,
By
of
aid
lettering
right
on
exercises
details.
am
to
explanation,
XXVII.,
Plate
through
easily,
detailed
the
may be
the
together
track
from
easily followed.
thinking of those
who
forms
it
figure.
with
point
When
the
A
say
Any
attempt
to
work
them
out
from
the
The knowledge
of angles
from actual
6i
an increased
sense-activity
But
principles.
equilibrium
is
fundamental law of
the
until
principles are
its
much
use
The
out.
sole value
proof
indisputable
the
their
principle
they
place
connection
afford
on which the
to
the
of
exercises are
may be with
the
work
is
correctness
of
What
based.
secret
the
symbols
of
human
perfect
doubtful whether
balance
in
it
movement,
may
himself
62
means
to this
become
the
most
Otherwise a knowledge
PLATE XXIV.
Copyright.]
^Different negative.)
PLATE XXV.
Copyright.]
XXI\
apparent in
training
the
all
whereas
systems of
different
physical
it
The
is
is
II.,
in
shown as a geometrical
given on Plate XXVIII. It illustrates
designs
the
of
last
the
plane,
vertical
photograph
in
From
movement.
to
is
the
step
first
the
the
photographic
enough,
original,
Personally
remarkable.
but according
symbols of Hfe
and the
star,
to exist.
to
Yogi
the z^^,
and
the
reason
interpretation has
occult
its
for
of the
as
science,
expresses
all
the
in these
mention
it
curiously
been described
know nothing
translation
that,
forms
much
this
is
all
all
of the geometrical
drawings
It
circles
lines.
movement being
But the dotted
lines
it
exist,
lines.
would
move-
From
physically.
it
So
senting
far,
only experiments
the
movement
in
detail
in
photography repre-
late
Marey, of Professor Charles Richet (his successor, as President of the Institut Marey), and of Professor Pettigrew, who wrote an important work dealing with
Professor
the discoveries
made
at
the Institut
the
alternating
of
the
feet
in
walking, both by
human
The experiments were most interesting, but seem to have been made in connection with
unconscious and spontaneous movement only, so that
in making a distinction between my own and theirs, I
beings
and
animals.
explained
represent
consciously-reasoned
move-
PLATE XXVI.
Copyright.
(Different negative.}
PLATE
XXVII.
Copyright.]
PLATE
XXVIII.
Copyright.
II.
subject
law,
to
opposed
as
This does
As a
movement
spontaneous a
imply
not
may
governed by law.
and
unconscious
to
not also be
rule,
is,
the
herself
is
beautiful
rare
thing.
moment
It
she
is
is
allowed
her
that
but
liberty,
show any
of
it
the
come
in
touch with
and
elasticity
law of balance
known
tread.
all
Under
able to assert
is
conditions,
all
physical
to,
if
is
to
natural
itself
conditions,
without
must be studied
the
being
its
Under
it.
as the alphabet of
carefully practised,
training,
any check
fine
it
of
fetters
modern
upon
of
the
civilisation,
adhered
rigidly
development made by
heels, hobbles,
and
similar
control
of
its
fullest
expression.
Do
with
train of cavalry,
virgin
battle
squadrons splendid
...
w^arrior
maiden hard to
the winds with racing
a
corn and
her
brass:
endure the
feet.
leading a
left
sea
Where
is
the
flood, nor
feet
66
The Aeneid
of Virgil.
J.
W.
Mackail.
CHAPTER
VI
THE
training,
on which
all
On
principle
contrary, the
place such
more
accurate, the
movement becomes,
more
the
perfectly balanced,
means by
which
it is
produced.
Leonardo da Vinci, of
Titian, and, in our times, of Sargent, owes its fauldess
perfection to the infinitesimal details of perspective and
work
of
was attempted.
when
of expression
came
afterwards,
and
definite in
Freedom
in perspective.
human movement,
and dancing
it
far
for the
greater subse-
comes
to sports in
in particular.
67
the free
human
being.
unaccustomed
to
movements
extreme
of
and
precision
difficult balance.
This
many
in
statues
were
respecting
cases so
them
modern
for
little
is
left
movement
antique
of
sculpture,
to indicate
are
cases
restorations
painfully
what
obvious
what the
If
the
man who
light
Take,
the Sala
the
in
been an
the
of
is
many
della Biga.
and
in
really doing.
obvious in
of
balance
of
greatest
where
principle
athlete, the
Had
he
How
is
it
possible to realise
all
mean
they
unless one
68
in
of
that
of
the
finish,
varied
one or two,
central poise.
arm began
its
little
the
horizontal
before
descending
for
the
throw.
There
is
supposed
to
be a copy of one
The Archer
that
wonderful
poise
on
the
right
toes,
and,
without
The
statue
is
smiling
correctly
little
is
proud, half-contemptuous
Paris,
also
shooting
07ie
69
very
knee
on the ground.
Herakles
couldn't balance
there with a
sits
men
am
little
on
and so
poised on
his toes,
confident smile,
my
In
next turned
Rome.
attention to
this case,
Discobolus,
left
leg, are
missing, but the position of the right leg gives clear indication
what he
of
photograph there
a
much
is
is
dropped
Plate
He
is
that
is
interesting.
qui se dispose a
telle
si
of
Professor
"C'est un jeune
buste
is
with arms
as the
**
is
leap
flying."
The movement
une
the only
of eager horses, he
in
is
taking what
XXIX.
finer view.
signal has
doing.
this
Loewy
homme
charioteer
describes
dans
monter peut-etre
proved
him
I'attitude
sur
un
intensely
as follows
de quelqu'un
char.
Mais dans
raide ? "
tenir le
Loewy.
70
iio.
PLATE XXIX.
Photo Alinari.]
The
The
were
condition
perfect
in
way
to
to carry a well-balanced
body on
springs;
reliable
exactly
is
such
poise
fine
detail
than
series
forms,
careful
possible
is
thought
one
it
deserved
smaller
the
in
think,
demonstrations
that
of
examination
will
it
be
interesting
and on
find,
noticed
This
prints.
most
the
of
clearer
that
spine
the
no
to
hold
more
reins
on
to
difficult,
to
on
toes
the rise
to
the
but the
their
of
work,
one
as
foot
will
be seen by
when on
top of
the case.
But
it
may be
asked,
Why
did
rise
on
to
my
toes,
did
it
for
movement
that,
were
always
spring.
it
fly
of perfectly trained
it
possible to drive a
into
And
elastic
it
yet,
muscles.
Greek
chariot,
I
I
know
should
criticised as a preposterous
"idea."
Professor Loewy,
stration of the
who saw me
movement
in
acknowledged
that the
wandered so
that he
is
far
,*
is
finest in
Nature,
72
CINEMA
SERIES, No.
4.
Copyiighl.]
Movement
ot the
CINEMA
SERIES, No.
4.
(continued).
Copyright.l
Continuation
ot"
the
Movement
of being
When
still
maintained throughout.
Louvre,
the
at
ing movement,
came
my
Plate
shown on
XXX.
The
chariot
is
Herakles to
resemblance will
It
given
is
for
reason
once be noticed.
at
interesting
it
note
positions
certain
that
to
has
either
in
the
curious
explanations
simple
not occurred
to,
or not been
on
own
One of
his
muscles.
the
most
striking
examples
of
this
is
in
connection with the statue called the " Heros Combattant "
at the
Louvre.
Professor Coligonon
the
foot,
left
of the right,
If
which
is
Plate XXXI.'^
turned out
is
for the
states
that
the
at right
position
of
angles to that
studied carefully,
it
will
be seen
73
that
The
right foot.
and the
left
body
the
is
has
nothing to do with
toes,
it
and
is
merely
brought
ground
as
forward and
straight as the
upon
now stands ? For
presumably placed
right
momentary one,
the
this
is
in
"
And
Every muscle
are
in the
bound together
position
of
preserving
the
the
for
is
connection
a
foot
left
tense
extra weight of
as
the
at
disconnected
purpose of
sole
left
hip,
so that
no
body, poised as
The
it
is
there, for
it
is
it
in the
If,
when
spine,
the leg
X
X
X
w
<
Ph
tense
ground
It
side,
left
to
once over
at
lift
quite
is
easy to
this
test
by taking as nearly as
tense
Now,
possible.
as
right foot,
turning
try
the
left
leg as
toes
left
in
the hip.
It
and
the
left
in a
way
that
makes
impossible
it
if
on the
the test be
the sword
a shield
made with
must be held
the position
is
tried with
though,
weight on the
this additional
over
keep the
to
arm
left
down
if
left,
accurate.
given before.
figure
of
the
One
left
the
of
Fighting
foot should
finest
is
Theseus,
that of
at
the
XXXI."
Plate
foot
is
is
this case,
it
will
bronze
Bibliotheque
is
given on
left
beautifully
foot
In
the
accurate
turned
in,
on the
that
is
to
right foot.
say,
when
When
this
is
left
otherwise,
the
the
if
knee bent
quite
left
be
easily
kept
off
feet,
even
out,
in
the
with
the
body can
the
ground.
the
the
This
fact
is
marble statue
beautiful
ascribed
in
turned
is
of
and when
the left knee bends
bear, and must soon
the whole weight
two
the
to
foot
the weight
heel,
on
to
XXXII/
Plate
the position
is
represent
in
from
receives
were making a
from above,
though he
last
which case he
is
Ganymede defending
to
is,
that
anything else
placed lying over on the inside line with the ankle on the
ground, for in
this
is
locked into
its
ease
on
position
to either
is
represented on Plate
XXXII. ^,
This alternative
in
which
it
will
rather
that
of
spring
left
foot
X
X
X
w
<
alone.
the
at
knee,
the
little
the
in
of the
impression
foot alone
left
support under
The whole
sculptural necessity.
and
there,
is
it,
and one
feels
in spite of the
is
it
whole drag
the
produces
it
is
The
very much,
shown on
to
Plate
whether she
an opinion
is
XXXIIL
The
shoulders.
her arms
have
there
was
right
arm was
back
is
very beautiful;
but as
abrupt
the
She
from
me
angle
at
interest for
which
me
lies
sufficient indication to
raised.
It
has
from the
in the way in which
both were lost; but
it
make
springs
it
and
bending a bow
in such a strained position while gazing sadly on the
ground with averted face, yet there appears to be no
although
reason
say,
it
why
looks
rather
aimless
to
be
that
is
to
front,
seems
this
to
By
good
great
fortune,
surgical operation
pleased, so
promptly
cut off her arms to the line of the original break, and she
XXXIV.^ shows my
Plate
restoration.
is
position.
The work
criticised,
it
Looking at
the same point
is
as
wished
an
these
makes
instant.
angles
other
this, the
to represent them.'
for
her
of
is
restoration
version
quite
it
It
is
not
such
that
arm
impossible
till
an
we look
excessive
in the original
for
her
to
at the figure
lean
stand
from
forward
is
toppling
quarter
to
over.
view
the
figure)
the
XXXIV. ^ shows
Plate
could
left
side
this position,
of
the
where,
if
statue,
and
a vertical line
The photographs
for the
first
78
time here.
X
X
X
PLATE
XXXIII.
Photo Alinari.]
Tlic
Amazon
of the Vatican.
the
foot
left
she
Now
look
at Plate
arm
uncomfortable
weight.
made
it
XXXIV.*^, and
well
as
to
is
looked
be
to
much
of repute,
on
her
the
as
look
lance,
at
less
from the
an overbalancing
such
at
try
all
it
in pain.
is
right
restored
saving
is
is
front,
that statues
were
but no sculptor
for
reason
the
that
it
believe
been necessary
for
him
but
actually to
it
it
asserted that
is
add the
lance.
The
hand, or from the addition of a lance-head alone.
fact that she is not walking, but is in repose, makes her
position
Two
lift
of
photographs of
position are
tunately
still
shown
my
the
me
to give the
right
But even
in
so,
it
was impossible
for
me
79
who
is
or eight inches
six
The
meant
far
theory
to
that
nearly
all
antique
may be
when movements
of the
for the
carried too
by the sculptor
was
sculpture
purpose of representing as
much
as
possible of
spectator, while
her
feet
are
turning
Look at the
the movement
Had
they been facing the front with the rest of the body,
Pallas
making
or
on^e again
that is to come.
feet;
the
moving
Athena
fresh
would have
been
brooding,
overthrow of
their
already, she
in the
is
enemies.
dreaming,
her favourites
But her
feet
are
80
leading,
X
X
X
w
<
PLATE XXXV.
Copyright.'^
Amazon.
PLATE XXXVI.
Copy'rigln.]
Profile of the
her body
swung
These gods
points
of
the
horizon without
feet
Look,
Plate
too,
XXX.,
at
as
the
little
figure
from
dismounts
she
of
the
Athena
in
the
chariot
in
hand
still
holding the
reins
perfectly
taut until
she
is
actually
well as habitual
and therefore
the representation of
the
new Hght
it is
men
two planes.
impossible to conceive
Look
them now in
from that which
at
8i
movement
expressed by the
of a
All
pivoting.
slight
found on vase-paintings.
to
throw a lance to
moving
the
represented
feet
Personally,
positions
I
find
it
will
be
quite easy
all
at
three
all.
command my
This would
arm.
am
facing
north.
line
should
lifting
with
turn
it
my
feet
farther
on
my
bringing
left,
shoulders into a
still
to the
last
position
an obtuse angle by
into
big
During
all
these
movements of
For perfectly-trained,
and I only cite it here
north.
elastic
easy,
as the
muscles, this
more
is
quite
sculpture.
82
PLATE XXXVII.
Photo Giraudon.]
The Athena
ot the
Acglnetan Pediment.
PLATE
XXXVIII.
Copynglit.]
ot the
Athena.
PLATE XXXIX.
Copyright.]
complete
\'oltc
Face withoiu
litiing the Fi
PLATE
XL.
Copyrii;!/!.]
Anolhcr Change
ot'
still
unchanged.
last statue I
little
exquisite
that
XLL, an
Naples Museum. Some
little
meant
wings are
of the
parts
is
belong to the
statue,
and
left,
to
being of a
much
This
later period.
possible,
all
yet,
Drawn up on
the Earth.
to the
to represent
toes,
she
is
very essence of
the
controlled Will
rise
Plate
XLIL
example of pure
them.
of
the
foot
my
reproduc-
poise.
of the feet
have
may
is
yet able to
grip
of
the
be
is
toes,
This photograph
on a smooth
drawn up on to the
standing
phalanx of the
artificial
toes,
and
They were
all
my
in
this
chapter illustrate
interpretation of a
Greek dance.
vertical line
in
Plate XLIII.
position of
foot.
is
the Aphrodite in
Villa Item, in
dance on
left
which she
is
the
XLIV.
good example
of the lightness of touch upon the ground resulting from
extreme Tension. Plate XLV. is a very good instantaneous
photograph of the movement which constitutes the
recurring motif of the dance, viz., that of the Greek
Dancing Boy, one of the finest of the vase-paintings, and
shown in diagram. It was a great puzzle to know how
he arrived at such a position as the result of a harmonious
and rhythmical change, because the mere lifting back of
one foot at intervals would have been anything but a
Eventually, I found what he was
beautiful movement.
doing, and reconstructed the beautiful curves which led up
I also found that it was impossible to arrive
to his poise.
Plates XL VI. and
at it except on the ball of the toes.
XLVII. show two more positions in the dance.
With these last photographs I close the first part
to
of
the
book,
with
for
Plate
this
chapter
is
ends
all
that
is
Three aspects
have been studied
that
of a training in balance
:
applies to sculpture.
84
under Tension
There are
still
finally
that
which
PLATE
XLI.
I'lwto .lliiiaii.\
The Goddess
I'ortuna (Naples
Museum).
PLATE
XLII.
Copyright.]
Profile.
PLATE
XLIII.
Copynght.l
Tosition
of"
the Apl.r.)diic at
tlic \'ilhi
hem.
PLATE
Copyti^ht.
XLIV.
PLATE XLV.
Ci/>vr.'A'A/.]
Position ot the
PLATE
Copyri'jhl.
XLVI.
PLATE
Copyyighl.
XLVII.
but what
follows
can be
shown
by
no
So
far,
more
on
a different plane,
visible.
and
in the
end of
intrinsic value.
85
far
CHAPTER
VII
MENTAL REACTIONS
" The laws of moral nature answer
Emerson.
IN
the formulation of a
brain,
least
one
is
new
confronted with
its
it
that of
making
intelligible the
parent, rendered so
own
a language
that
result
proved,
many
only in
not
others.
drawn from
The
is
not
relation
It
is
my own
offered
because
yet
it
a conviction-
is
and
realisation.
movement upon
generally recognised,
although
the brain
the admitted
86
MENTAL REACTIONS
by proving that the principle may be applied in
more elaborate form to the normal child, also to the adult,
farther,
The
maximum,
to
is
only possible
is
This merging
allied to both.
when
the degree of
tissues
The
development.
distinguishable
mental,
intensity
and
from
those
fusion
this
of both
perfected
physical
that
activities
usually
are
then
regarded
as
hardly
purely
the
obstacle or resistance
by reason of
liberated
a condition
instant
transmission of
87
define
clearing,
may prove
now
are
otherwise
use
of
will
first
the
misleading.
travelling needs
certain
ex-
therefore
my meaning
every muscle."
knowledge
tific
of this sort in
On
physical training.
no way furthers
the contrary,
scien-
a perfect
should regard
it
as
same way that a very detailed physioknowledge, under certain conditions, is conducive
a drawback, in the
logical
exaggerated
to
Therefore, the
way
knowledge
understanding
sciousness of which
sense
activity,
even
nervous
apprehension.
full
necessitates a
scientific
or
care,
of
speak
which
forms
of their
their
is
names,
nor even
The
functions.
con-
the
soundest
for
basis
all
may
theorise
with
certainty.
Hypothesis and
synthesis
in absolute certainty.
The fullest consciousness, as also the truest knowledge, come through increased sensitiveness, both physical
and mental, and are independent of all scientific education, while forming an indispensable attribute to it.
In
reply
whether
88
this
to
full
consciousness
may be
is
likely
raised
to
as to
destroy
MENTAL REACTIONS
spontaneity,
it
must
difference
significant
be
remembered
between
that
there
and
consciousness
is
self-
The
doing
it.
may
full
how
consciousness
power
of instant transmission of
To
block occurs.
activities of
pressions
The
the brain
first
may
be
receives im-
We
will
impression
then passes
it
first
department receives an
on to the
creative department
which
it
passes to
89
may
the case
or
not, as
be.
department and
process
simple
quite
is
the
left
while
impressions
when
are
each
This
being
the impressions
all
three depart-
piled up, as
it
may
may
or
The
is
perhaps
which have
never been consciously registered, and which form a sort
of sediment of thought liable to rise and obscure the
better defined as a substratum of impressions
clearer ideas.
It
is
between
and one
here
my own
the
that
theory
of
altered
mental
activity,
put
lecture
his
that
brain
is
thought
"According
itself,
rise
the barrier
and
fall.
It
to
the
state
in
energy pours
over.
90
MENTAL REACTIONS
thought as heavy sleep permits get by. The brain, under
these circumstances, would be the independent variable,
but the mind would vary dependently on
In connection with this idea
that
possible to reduce to a
it is
obstructiveness "
sequential
plish,
but
One
by the practice of
movement.
It
it."
perfectly
balanced
can be done.
it
may be compared
at
first
to a
the passing
of incomplete ideas.
With
practice, the
it
impossible to the
less perfect
It
is
possession of
the
instrument.
this
by
their result,
and
action to that of
to
motive
incentive.
The immediate
brain,
action,
together
transmission
with
constitutes
the
their
very
of
instant
highest
messages from
the
transformation into
realisation
of
Will
human
being.
91
in the following
may
mental processes
of
thus be formed
way
may
be defined as the
this
The maximum
Tension,
its
therefore
the
consciousness which
may
be
awakened
depends on the
degree
particular
acquired
of
chain,
it
forms the
last
first,
which was
passive consciousness.
The most
processes
important
result,
the acquisition of
is
then,
of
these
mental
an enormously strength-
that
made upon
is
a concentration,
the brain
study of
for concentration
the
is
problematical
MENTAL REACTIONS
The sort of concentration needed in sequential movement requires that the effort made should be, not upon
the brain itself, but upon the dynamic expression of its
dynamic expression demands extremely
rapid execution, it stands to reason that the brain movement, or thought registration, must unfailingly precede
the physical movement.
This results in the development of an elastic and
widely comprehensive form of concentration, one that is able
to pass rapidly from one point to another, while yet retaining
a clear and definite idea of the sequence as a whole.
While the ordinary type of fixed concentration is
unable to perform movements of rapid mental registration,
ideas,
and
as this
power
on any
much
of fixing
greater clear-
In his
says
"
The
An
and
will
no one
is
compos sui
if
he have
it
not.
is
But
it
is
easier to
define
about."
Socratesonce
said
to his pupils
" Self-control
the whole world
is
may become
virtuous."
93
basis
of
this
science
lies
in a perfect
physical
development
is,
am
development.
made
activity
is
possible
balance.
In the
vacillating
physical
world,
movements
fatigue
of an unbalanced
the
by the
by the
caused
body corresponds
friction of indecision.
eventual
element
of
calm,"
that
indispensable
basis
of
Here
control,
it
for
may
it
all
thought-movement.
not
necessarily
may
mean
mean by
restraint
equally
or
represent
idea
the abiHty to
on the
let
94
Power
MENTAL REACTIONS
of Freedom.
Epictetus said
"
He
only
is
free
who
can
control himself."
wish to take up in
detail,
The
first
is
in
when unable
of
the
to keep
it.
and
that
is
a condition arising
may become
Although
more
quite as
definite physical
imply that
much an
all
action
directed
it
does not
by the sub-
self
is
always
alert,
depths
which
it
rests
with
one
each
to
The
key
to
solution
of
problem,
another
viz.,
the
Heredity
No
...
In the end,
new
eyes
we
...
shall
come
to look
by yielding ourselves
Educated Will."
The second point which needs further elucidation is in
connection with the enormously increased power of active
passive to the
will
into
two kinds,
that
which
96
itself in
a force
MENTAL REACTIONS
The
first
that possessed
The second
able to
is
it
its
prey
as that
we
is
all
is
the same,
causes
are
different.
two
of Will
Power
is
This use
becomes the
call is
effort,
is
however simple
an
alert control
which
made upon
it,
no
leaving
the answer
penalty of
comes
at
overstrain,
condition
in
The power
practically
another
sense.
at its
It
is
maximum
extremely
difficult to define in
make
use of
it
such
able to
comprehend and
assimilate
Cosmic Force
as
an
the
feel
movement
of vibrations to
which
less
sensitively
most important.
The
" First
the
natural, then
is
the basis
the
first
and
spiritual.
on which the
The
98
link
into
MENTAL REACTIONS
conscious connection with things Infinite
It is
possible for a
were,
pitch
to
human being
of
sensitive
is
altered vibration.
to
some
force,
from which
organisation
it
as
of
it
The analogy
is
which have
keyed up
to be
to a
and respond
to the
Increased
Hertzian wave.
rapidity
of
through Tension
vibration
first,
that of
The second
receptive condition.
power
is
is
resistant
to other forces.
The analogy
for this
second condition
is
a spinning
The
a highly sensitive
maximum
is
resist
towards deviation of
effort
direction.
It is
state of
Tension
having, as
its
of
come
it,
in
to the extent of
power.
My own
is
in the highest
were,
it
human being
in this condition
of
is that,
tense, alert,
muscular control,
it
the
pull
of
gravitation,
which give
99
to a
same way
that
current.
It
sure,
and
as weight,
downwards
may be
of gravitation
is
reckoned
which we regard
and upward lift
by the stretch
of Tension, which thus becomes a counteracting force.
This resistant power of Tension is well illustrated in
the case of a cat falling, and Plate XLVIII. is an extraordinary example of the instinctive Tension in animals.* The
middle photograph in the bottom row shows the moment
as weight
of actual contact,
nullified
when
its
back
its
tail
is
reared
up
comes to
shown in the
cat
as
while
little
oneself
at
last
will
in
photograph.
ago
a
condition
said
that
of
Looking
power to place
Tension constitutes
the
first
at
it
the simplest
will
be found
This selection from a series of cinematographic photographs illustrating the rapidity of the cat's turn in the air has been kindly lent to me by the
^
Institut
Marey.
lOO
u
<:
MENTAL REACTIONS
that
the
its
it
becomes a thing
almost supernatural.
becomes
practically
non-
When
vibrations.
ment
is
this
sensitiveness
vibratory
to
it
move-
resembles
by the
bat,
through vibration.
Science has been able to apply the principle of the
bat's little
to
ocean
This instrument
is
is
able
to
register the
perfected mechanics
go
is
organisation, but to a
to prove that
what
is
possible to
much
greater degree.
its
physical
means
of expression,
lOI
But
result
this
must
be
dentalism
and
may have
their hold
on the
solid
ground
of reason
fact.
In this way
activity,
it
possible,
is
to realise life at
its
maximum,
to gain
an insight
of
consciousness which
I02
it
the
**
Mother Sea."
flows
through each
CHAPTER
VIII
SPIRITUAL REACTIONS
" The principal contrast under which
mere existence on
is that of
the
acts.
activity,
with
Aristotle, in fact, is
its
yields at the
SO
knew those
they
would seem
probable for this reason, that a training which could so
influence the moral side of human nature becomes in the
end a religion in itself, seeing that in a condition of
perfectly balanced physical strength and well-being the
mind and soul respond more fully.
The word ** hieros," " sacred," originally meant
its
it
was eventually
1
"
The Problem
restricted
of Life."
it
religion,
from
Rudolf Eucken.
103
the
which
his religion
Surely a
effect
reversal,
More
happiness
brought him."^
this,
probably
only
could
of
the
be
the
order
that
complete
through
complete
discovery
reached
cause and
of
(or,
love,
it
hatred,
attached
grief,
brain
the
to
anger
but also
the
intelligence,
faculties
now
thinking - power,
memory, will."
They divided man
the body or covering;
(3)
last
into
(2)
three
parts:
"Psyche,"
(1)
the
soul;
being by
far
the
"Soma,"
and
life,
this
three,
and
Haemon
104
his father,
tells
1
"
Ibid., p. 293.
Makers of Hellas,"
p. 224.
SPIRITUAL REACTIONS
men (human
implanted in
(feeling,
highest
mind,
.
will,
beings generally)
thinking faculty) of
the phrenes
justice
from
injustice."
The conception
of spirit
was
totally
To
the Greeks,
common
to
all.
The
independent of though
spirit
It
spirit of the
The
was "
of
training, then, of
all
movements.
leaders of religious
made
the
muscle which
Each
step
from the
other.
" Whereas
have seen in
some
man
thinkers St.
Paul, Pascal,
a two-fold nature
Byron-
God and
beast
the
'
"
its
Meaning
to
Us."
Livingstone.
lOS
definite
the
of
Now
also true
is
that
to say,
is
its
corresponding
how
explains
the
basic
state of
principles
balanced, tense
movement
and a
mind.
dynamic
lies
of
It is
this
aesthetic
are
answer
law,
"why"
may
law
of this
clear
which
is
given to the
reason
form
painting
it
or
sculpture.
This answer
is
the power of
lift,
**
Lift
more than
On
of the
up your
a figurative
hearts,"
comes
to have a literal
meaning.
that
There are many allusions in the Iliad to this energising Will Power, with which Homer endowed the
Greeks and Trojans alike a Will Power that was able
to restore on the instant exhausted faculties, physical and
mental.
1
06
SPIRITUAL REACTIONS
This,
movement
results in
is
am
to say, this
when
the result
is
spiritual
which
reaction. That
is
believe
lation of
many
seems
considered
is
it
to render in
he was
filled as
more
vivid
his
fire
with
troops,
and
"O
is
Why
spoken thus
to his
mind
men.
Had
in the head, he
But he knew,
all
this
passage
The Trojans
to
Meaning here
stronger,
the
that
will
had
would
their
have
physical
been
control
able
to
been
operate
107
effectively,
keep the
hold
to
their
ground and
to
undimmed.
when
point
a time
for
retreat
exhausted.
is
we
and
late
And
long,
so on,
all
shall
spirit of a
last.
Chapman
"
many
passages,
vindication
of the
rendering of
It is
Commentors],
the
in
this
trifle
their oversight
is
and
depth
gravity,
which
will
[meaning
accompanied with a
our divine Homer's
open
not
itself
to
art,
In
light
the
of
io8
examination of
austere
and sincere
all
the
new
theory,
criticism
is
the
the only
search-
means
SPIRITUAL REACTIONS
by
which
complete
construction
of
analysis
may be
determined.
" the natural
To
that
recognise
it
when
revealed,
instantly,
may be
it
human
normal
all
and the
expressed,
telling of
it
is
so
beings
consists in
most
clear
different
to
the
definite design.
To
all
sceptic:
my
assertions will
"How
come
do you know?
the
What
question of the
proof
can you
offer?"
To
this
the
only
answer
is
famous law
of arches
thing
is
it is
given
by
the
as to the correctness
true.'^
when
con-
to all
only impossible
that
it
implies
theory
which
laws
of
highest
Nature's
offer
accordance
in
is
with
against them.
It
nature
I
may be
is
human
one's
limitations, but
recognise no limitations.
All
life is
The knowledge
is
no
The work of
the joy of
becomes
beyond the
striving
is
stars.
the
future
charm, so
may we
If
is
lose
its
would be
To
to lose
energising
realise the
sciousness
An
this,
science
something
life
of
real
consciousness
appears on a
Hving,
and
every expression of
And
find
no
for
an awakened conideal.
is
much
through
mighty
thing
bigger scale;
"to
verb
the
vital
the
Hve,"
made
it
is
into
completeness of
life.
the glory of
may
of
fire
an approximation of the
is
awakened
Through
the
it.
it
is
himself
all
latent
the
power
in each human being.
Each
master-key which will open
lies in
SPIRITUAL REACTIONS
wide the doors of a new world,
price
depends only on
it
In this
pay the
willing to
if
this.
man
and enter
and keyed up
its
music,
to the
its
power
of
response.
its
utmost
highest
lost
of
the
road
the
limits,
desire
clear,
is
and
To
the
at
the
same time
realising
are
inevitable
with
and
moulded by it.
dominate
circumstance
conditions
overcome
This
is
will
very
few
strong enough to
rather
than
be
the
and
is
the direct
maximum result.
And this result, once
achieved,
is
is
III
power
to envisage,
inevitable
imperceptible from
Under normal
its
under
the
dis-
becomes almost
law,
unity of change.
conditions,
it
very
gradual
lowering
of
flame of man's
life
flame
the
it
and
as
flame
spirit,
last,
A
all
are
clear vision
the realisation,
ample reward
come
to those
for all
who
fight,
must be a preparation
If
its
its
if
maximum
pain, for
all
activity, these
the
wounds
that
this ideal
the flame dies for ever, then the top note of achieve-
here.
If
it
is
to
wake again
into a
SPIRITUAL REACTIONS
and more perfect than yet dreamed of on this
plane, then no effort has been lost, and the fresh start will
be made from a higher standpoint than would otherwise
life
fuller
is
all
calm,
"3
DETAILED EXPLANATION
OF THE
TWELVE
BASIC EXERCISES
"5
INTRODUCTORY NOTE
The
explanation
clear
complicated movements
photographs
shown
being
full-page
in
most
variety
have,
with as
many
important
while
plates,
of
difficult.
instructions
the
possible,
as
of
extremely
is
supplemented the
therefore,
writing
in
positions
intermediate
three
or
of
easy
balance,
with
thus
the
analysis
Each
task.
has
exceptions,
photographs, together
nation
render
movement an
changing
two
which
detail,
its
the
own
every
of
exercise, with
series
cinematographic
forming a complete
large
of
expla-
study in
It
exercises
when
is
the whole
series
has
set
being chosen
useful
/.,
This
for
to
however
first
for
definite
five
different exercises,
the
much
exercise
has
following
routine
beginning
of
Eventually,
time.
at
all
the
proved
that
practice.
strongly
practice
others
itself
may
the
with
be
most
"7
INTRODUCTORY NOTE
Half-an-hour's
practice
first
will
later
be
on,
found enough
for
the
joints
seem very
will
for
short.
Each
each side,
left,
exercise
and
reversal.
ii8
EXERCISE
FROM
front
the
until
elbows
(very
sHghtly
bent)
are
part of the
The moment
tension.
bend
the knee
as
the ground,
instep
be
verti-
much
raised
line of the
Plate
In
this
toe touching
the
whole of
the left might
position the
vertical
body.
Plate
XLIX.*^ gives
and
an
imaginary
the
ear,
shoulder,
knee has
the
curved outwards.
weight
front;
the
body about
steel,
the
absolutely
cal,
let
to hip
left
it
vertical
position
it
more
line
as
clearly
should
in
pass
profile,
through
119
From
line.'
across
swing the
this position,
the line of
During
up and
leg
left
to
the
should form an
it
to say,
is
it
it
passes in
an acute angle.
extent of
made
to
be found that
It will
swing up the
left
an attempt
if
is
on
the ground, not only will the leg not be able to reach the
horizontal, but the knee (that
is
will
any attempt
on
the most
bent,
one of
is
practice
that
it
come
difficult,
and
is
it
balance the
to the
left,
right.
The arms
left
leg
movement
should, at
make
knee)
knee
is
still
left
forward, destroying
itself.
the
say,
poise.
at
to
to
complete diagonal
the
their
line
of the leg to
finish
first
accompanied
both arms well
is
of
their
position,
with the
left
the
swing,
and thus
leg across
the direction in
taken in
position,
In the case of Plate XLIX. the position was photographed before the
bend of the knee was accomplished, which when completed would have
brought the ear, shoulder, and hip slightly more forward until all were verti^
full
cal
20
X
X
w
<
CINEMA
TaMifci
iipin
SERIES, No.
5.
m
Copyright.
Kxcruisc
1.
in Dc!,i
EXERCISE
elbows
bent, as at
slightly
body
start,
necessarily
will
have a more
XLIX.^ shows
of the
position
formed by the
foot should be
right
movement
this is the
left
The
so difficult to perform.
leg
in
angles
relation to the
swings
this
of
the
up
of
arms
the
knee
right
to
both
allow
the
same, of
course,
not to twist
the
as
that
raising
to
on the
are
From
toes,
which
in
of
body, with
the
and
right
while
Plate XII.
torso
particular care
being
Intermediate
leg.
Series
its
the
left,
come
shown
vertical,
waist
to
feet
No.
balance
positions
5.
on
which
all
other
counsel of perfection,
121
it
make up such
a condition of
mind becomes
movement.
side, these
be reversed.
times
poise
The
better
movements should
things go
left
Many
heels
altogether.
122
for a
beginner,
on the ground
who
at
will
first
to
this
again will be
be forced to
avoid
place
falling over
EXERCISE
FROM
II
the
twisted as far as
fist,
left,
kept as
cal.
is
left
forearm
also clenched.
As
so that the
right
foot
extreme
upper
whole weight
is
over
the
left,
point
of
the
the
toe,
During
whole of
the
Plate
this
movement
least
it
The two
has a tendency
hips,
which
definite
move-
alteration
this
the
Care should
two
gives
at
L.*^
exercise,
and
while the
curved outward.
to twist
body with
position.
this
left
the
right
heel
so as to allow the
to
body
to
go back
To
the ground
again,
pull
far
From
made by
enough
to
form
forward.
123
it
on
and up
left,
same moment.
the
at
at
This
is
much more
first
as the
is
The
seconds.
point
to
level
utmost
its
same
from
semi-circle
on
left
left
first
its
with the
limit,
so
fist
left
that
aided by a
is
now
in
the
unaltered.
back in a conscious
the head thrown back so
effort to expand the chest
that even when the full bend of the body has been
reached, in a horizontal line, the face and head remain
pulled
well
vertical
as
detail, as
This
though standing.
is
most important
poise,
which
is
at
difficult to
is
extremely
interesting
combined movement
its
base.
to enable
w
<
Oh
CINEMA
SERIES, No.
Copyright.]
Exercise
II. in Detail.
6.
EXERCISE
If
an imaginary horizontal
II
line
from a
little
behind the
ball
first
left
hip.
found
be
line,
the
of
is
starting
left
The
to
foot,
be
the
upwards
will
pass
angles formed by
where
it
(Ki)
(foot;
touches the ground, and again from the right foot to the
left,
the line
the
with
triangles
leg.
illus-
exact
125
say,
DBA and
angles
different size.
C B
It will
poise
This
is
become
be seen
more weight in
on the same base
considerably
to
and
why
at
is
to
torso, the
right-angle triangles of
once
the angle
that there
CB
A to
must be
enable
it
DBA.
it is
it
then becomes
its
see-
second exercise.
movement
may
itself
The reason
is
that,
although the
is
be classified
mental control
constitutes the
greatest
difficulty
As
in
facilitate a
spoke
in
mind
to
certainty,
the
movement
to raise
EXERCISE
in
any way
disturbing
the
rigidity
moment
comes
II
the
of
The
line.
position the
to its vertical
to the
final
third
it
viz.,
left
show
extremely
am
afraid a
this
poise
difficult
on
achieve
that
bravado induced
pedestal
For,
on solid ground,
and none too certain
already
an
quite
is
it
me
base.
this
recovery
trollable
fine
better definition of
balance
an achievement on a raised
It will
for the
spirit of
little
being so
to right),
detail.
to
apex poise,
is
in half
Time
poise.
by the uncon-
body.
renewed
Later
still,
when an
its
own, and
first
finished,
occasional
at
viz.,
the
effort.
recovery
where the
is
right
been
has
begun
be
angle
to
the
starting-point.
Four
which the
start
It
should, however, be
127
some
one
details
of
before
complicating
combinations.
128
exercise
the
must
be
mental
thoroughly
movement
by
mastered
further
EXERCISE
STARTING
III
left foot,
advancing
foot,
at the
same moment
on
this
all
The
right
it
the
touches
ground, while
the
the
foot
itself
should
be
the
arm
left
in
parrying
movement,
so
that
the
outwards.
Plate
LI.'^
shows
this
and
ball of foot,
of this line.
off
would end
in
left
of this
an
ear, shoulder,
position
and
The photograph
the profile,
position,
of
the
foot
is
little
The
is
heel
have reached
From
its limit.
this
straightening
the
four
inches
or
five
lowering of the
left
although
no weight
taneously
with
right
which movement
heel to the ground
be
should
rises
necessitates
placed
straightening
the
reached by
knee,
left
is
of
still
the
the
for
an
instant,
on
it.
Simul-
left
stretched
leg,
the
behind
out
at the
in
it
on the
as
of
ball
the
The curve
foot.
left
stopped
is
and
opposite
left.
directions,
in
to
the
the
The two
the
left,
slightly to
left,
right
feet
littk
knees
knee touching
should be turned
faces.
Plate
LI.^
shows
<
O.
EXERCISE
so accurately that
this position
Again, the
stood.
it
the
of
test
III
be at once under-
will
Hne
vertical
prove
will
the
movement
tense
correct,
only
is
Hne
vertical
The
while
right
the
over
the
represents
leg
left
by
possible
leg
keeping
left
the
foot
body in a
the whole time.
the
arm
pivot
of
compass,
to
muscle,
same way as
the moving arm of a compass.
Great care must be
taken to put no force into the movement, which would
at once disturb the vertical pivoting line and upset the
but
loose
quite
balance.
leg
at
sufficient to
is
on the curve.
this right leg must be
that
no
that
resistance
like a
disconnection
needed
without the
unbroken
of
the
from
least
and
left
possible
movement,
is
it
into
the
surface.
what the
this
line
it
meets
with
which is
the body and left
resistance
of
which they
at
weight
poised
will
be
feet
well
up
swept
on the
The
the
great
waist,
when
with Tension,
foot,
bending
steel
to
rod of
occurs
the hip-joint.
at
the
in
carry
started
so
hip-joint,
will
It
the
are
doing;
difficulty will
and care
for
ball
least
be to keep
must
forward with
is
be
taken
the head
to
means
exact
collapse of
the
that
well
lifted
unconsciously.
copies
waist
the
right
Any
lean
which should be
the poise,
leg
forward of
by way of
may,
be
test,
the
vertical
line
of
on the
left
toes,
to
poised
as
it
should
be
full
perpendicular.
I
have purposely
as to avoid
bered that
the
arm movement
is
it
to the
last,
so
must be remem-
As soon as
brought down from
curve.
left
this
begins, the
left
arm should be
EXERCISE
is
once more
in
line
angles to the
the
left,
as
before at right
left.
to
left
Plate
the
bent,
slightly
LI.*^
the
all
alter
of
details
this
and
position
In
tense.
are
clearly
position
the
outstretched
fingers
Care should
shown.
not
in the
with the
III
the
of
hips
although
waist
the
This
the
leaves
body
at a right
angle to the
start
one should
to
complete
due
to
the
it
has
become
invariably
series
of detail until
the
the
starting-point.
when
and,
become
alteration
of
destroys
the
perfection
definitely mastered.
angle,
which
is
This
is
unexpectedly
133
It
first.
is
wiser,
therefore,
to practise
been
apparent
will
be
notably in the
seen that
fifth of
the
is
row, where
it
134
and
especially those
CINEMA
SERIES, No.
Copynght.]
Exercise III. in Detail
7.
EXERCISE IV
the
left
weight
is
over
same
to their full
drawn down
The body
also
left
movement.
backward semicircle,
straight
and
tense, with
135
the
still
the
starting
movement
good photograph
the
of
leg,
left
resistance
which
turn of
the
leg against
the
of
body
the
resistance
amply
is
very
is
There should be no
of this position.
None whatever
needed
and
being
effected
by the
sufficient
to
is
point,
into the
at
its
occurs
start,
raised
when
and
so
pivot foot
the
at this
that
left
makes
moment
the
The
heel
the
may
left
revolve quite
freely.
a revolution of a half-circle
when
its
the
The
body
start.
To
without a pause
left
leg
this heel
Hke a rod of
steel,
<
EXERCISE IV
and tense
straight
same
and head
in exactly the
Plate
it
LII.*^
should
is
photograph of
fine
be noted carefully
how
the
left
position;
this
heel
raised
is
from the ground, and how a line drawn from the middle
the Tension
of the back ends in the ball of the left foot
of the back muscles may also be seen clearly through the
In this exercise, the whole difficulty will be found
jersey.
;
in the
start
At the
to
effort
falling
back
forward.
left
will find,
foot
This
difficulty constitutes
to prevent a pitch
the
main
interest
this
less
movement than
round
swing
and
by chance
on landing
these same muscles
somehow, he
with the
If
first
of
sight
in
it
can't
be
done
In
reality,
the
one particular
a
more
joint.
For
intense concentration
that
connection than
Tension
is
to
say,
and
demands
more
absolutely
unbroken
which
any other
myself
this condition
solely
may be
to
the
physical
means
by
the
some
fully
extent,
stretched
and
as
there
will
lighten
very
is
the
little
difficulties to
physical fatigue
connected with
this exercise,
from the
the body
it
until
The maximum
will
great
exactly the
for,
same place
when
138
the side
left.
CINEMA
SERIES, No.
^tmt
Copyright.}
8,
EXERCISE V
FROM
on
also
on the
up
the right,
knees.
steps
should
be
taken
with
absolutely
Both
straight
hands together
in front as
low down
as possible,
the
left
hand nearer the body, though not touching it, the palm
of the right hand lying along the back of the left; both
hands fully stretched to the finger-tips, and forming almost
a right angle with the arms.
The thumbs should be held
erect and tense at right angles to the rest of the hand, a
detail which must be carefully noted, in view of the
clasping of the hands which follows.
(See Plate LIII.'^)
Now comes a swift drop of the body, some five or six
inches by bending the right knee and letting the left foot
drop well to one side of, and a Httle behind the right foot,
the left knee also bent, but without altering the position of
These movements should leave the weight
the thigh.
poised entirely on the ball of the right foot
the spine
;
remaining
vertical
as
at
the
start;
upon
accompanied by
is
the
it.
as
left
leg
held
The sudden
sudden an up139
over the
now
of
and about
left)
five
clasped (the
right
The
details
of
this
position
are
but without
round
is
With
the weight
hands
down,
sweep
on the
still
tightly
the
to
limit of the
right,
still
ball
bent, the
body
still
vertical,
clasped,
taking
in
the
rapid
the
semicircular
waist-line
as
the
body
This
is
140
practically
<
w
<
o
isacisii
EXERCISE V
hope of dragging the body
it,
movement which
and a
of the balance
The movement
formed
forward.
fall
by the action of a
pivot,
of the Hne,
vertical
whose point
horizontal bar,
complete upset
in the
is
a vertical
results
working on a
curve
of connection
is
the top
at
beautifully
part
great
of
curve
their
encountering
before
the
nection
with
in
pivoting
the
this
waist
the
strength in the
just
be
made
lifted
is
in
will
to
it,
prevent
as
also
arm movement.
off
a slight
the
itself
now suppose
left
foot,
is
the
to
The
left
great
that of
left
difficulty
keeping
eliminate
of the ankle
all
needless
is
is
being
sufficient, the
But
The
movement
we
bar.
tense,
horizontal
movement
that
demands
gradual sinking
completed,
the
before this
Just
down
swiftly
in
up
again, with full momentum, above the head, at the same
moment that the ball of the left foot comes to the ground
at an obtuse angle to the line of the backward lunge,
while the left knee bends, lowering the body some five or
swinging curve,
full-length
six
inches
as
the
past
left
side,
and
Great care
and the
body, as well as the left foot, should now be at an obtuse
angle to the original starting position of the backward
lunge.
Plate
LIII.^ shows the position of the completed lunge, and though in itself the photograph is
will
be required
excellent,
correct
the
am
angle
position
get
to
sorry
that
this
to
should
given
in
position correctly,
say
it
followed
have
Plate
For
LIII.^
this
of
Plate
LIII.^,
the
foreshortening
full-face
made
it
view
of
reason
I
found
position
impossible
left,
so that
is
my
touching
left
side
Copyyiqht.~\
Exercise V.
in
Dutail.
9.
CINEMA
SERIES, No.
9 (co)itinue(l).
Jd
4
Copyright
a
]
Exercise y. in Detail
EXERCISE V
stand quite clearly the sequence
of
angles.
It
most
is
directly
foot,
which, on completion of
all
all
will
it
left
length
but
call these
this
this
**
made
body begins.
momentum
of
waist.
it
will
their
to
When
motive curves,"
curve
descend
curve they
practice has
of
in
full
sufficient
what
may
is
the
swing
comes against
the
resistance
the
shoulder,
on
the
This
is
made without
toes,
leg, so
the
that
whole
in
effected
aided by
both feet
come
body stretched
143
uplifted
still
the
that
heels
are
rapid,
level
all
with
the
feet
although
the weight
are
not
lowered,
actually
must be on the
feet
descending to within a
hair's
breadth of a watch-glass
without actually
touching
ments, and
exercise
it
will
become
possible.
it.
The
angle
at
which
first
this
it
finishes,
start,
the next
step in the
same acute
144
the
original starting-point
is
reached.
EXERCISE V
To make
the
near perfection
when
the series
starting
quarter,
last
step
taken on to
the
mark
When
it
the
with
first
at repetitions are
get
to
entirely
angles
the
secondary, and
correct.
it
whole secret
relation to
its
base
lies
if
will
fail
in the
movement
Direction,
in the
as aim,
is
its
145
EXERCISE
THIS
VI
much
From
greater than in
No. IV.
left foot,
on
placed
direction
the
of
ground, with
ground
the
only the
left
an obtuse angle
at
The
start.
it
foot
right
extreme
point
remains
the
of
to
faces
foot
the
on the
big
toe
touching,
travel
with
so
it,
over
directly
and keeping
being
raised
it,
it
that
left
the
moment
the
left
foot touches
lowering the
body
five
or
six
inches
inch
from
the
ground.
During
146
>
<
EXERCISE
VI
During the whole
in the true
technical
relative
the
of
the
after
done
without
disturbing
the
in
The
now
exercise
degree
slightest
be
the
perfect.
is
body
can
this
if
into
left,
possible
slightest
the
right
and
it,
just
knee remains
Plate
foot
for
close
clearing
bent,
LV.^ shows
before
leg
turn to the
movement
preliminary
of
first),
the
this
shooting
it
left
this
the
to
of the
turn
out
into
with
left
the
fresh
right
angle
to
left
angle,
while
touching
knee
side
at
drawing up
right foot
The
foot.
without
left,
after
the
is
ground,
the
left
its
first
as
rapidly as
position,
The
possible,
which move-
the
foot
left
foot,
left
of
hip,
the weight
is
and
it
is
of
the
make
The
to
foot
passes
only,
the
carrying
of
strain
and the
therefore,
turn
movement
difficult
thigh,
This
left.
it
the
although
line
to
most
the
is
correctly,
vertical
also
added
to this a
effort
to
When,
extreme.
is
movement requiring
main-
the sudden
the initial
movement
of
the arms
was
which
that
started
are able to
This
is
body
is
make
elasticity
quantity.
bered, there
the
the
is
no aggregate of weight
of the Tension keeping
Therefore,
the
movement
will
it
be remem-
at
of
the whole
if
it
as
the
left
moving
foot
is
merely the signal for concerted action, and, like the flash
of
right
leg
shoots
out into
CINEMA
SERIES, No.
lo.
i.
JUtSmiiamt
iliMiMKSf^iS
Copyyigl.t.']
4p
CINEMA
SERIES, No.
lo.
Copyright.]
(contumccl).
EXERCISE
Tension, the
fullest
body
is
left
at a fresh angle,
VI
foot has
turned,
The drawing up
and shooting out of the right leg should be a rapidlycontinuous movement, and, when it is performed correctly,
the toe comes with the barest touch to the ground
the
;
of an arc of a circle.
localise
the
movement
to
The
movement being
The body
is
left
foot,
bound
to
over
at
first,
it is
be a
long
body
It
will
should never
be attempted,
even
trained muscles.
The
from the left toes backwards, and upwards, which brings the body again into an
recovery
is
a light spring
Series
vertical
is
From
is
in
window which
is
The
admirably demonstrated
ISO
EXERCISE
THIS
exercise
is,
VII
an example of the
position as Exercise
totally different
II.
way.
It will
although arrived
movement
at in a
the
to speak, the
up
II.,
same
is
is,
so
In the case of
concentrated on preventing
moment, when
the leg
flies
of itself irresistibly.
From
position
first
clenched
fist
round
far
of
Exercise
II.,
viz.,
the
hand turned as
the elbow bent and kept
hand with
right
the
nearly
vertical.
left
forearm
the
hand
is
Simultaneously with
this
remain
movement, the
also clenched.
line,
up the
right hip by
the
right
heel
as
the knee absolutely straight, the whole leg tense and unbend*ing.
clear
The
on
Plate
LVI.'^
The extreme
limit
of
are quite
Tension
to the
left,
shoulder, by
means
of the
quite close to the right cheek, not lifted specially, and above
all
lowering of the
The bend
left
of the
body
left
to the left
at the waist
may remain
absolutely
leg, as base,
that in this
which the
bend when it
body
is
faces.
Now
difficult to
moment when
leaning body make it
comes
side
the
this
limit,
must
paying
out the weight and drawing out the muscles of the right
it
can bear
152
it
>
w
<
>
w
EXERCISE
a
in
horizontal
reaction strong
line
enough
muscle
through
at
VII
sufficient
to pull the
distance
body back
into balance,
is
complete Tension.
Plate
is
form a
to
of every
LVI.'^
is
extremely difficult
is
facing upwards.
shows
it
shown
exactly as
is
it
blurred,
Here, then,
and
in Exercise II.,
took place.
and
the
is
this is
will
be
accounted
for
It
my
made from
Although
preferred
to
keep
it
raising the
is
by the
carried into
the
153
right-
is
left free
is
twist.
should
be maintained, as with
exercises,
all
ments of the
sciatic
is
is
sufficiently
secure.
exceptional
in
its
the
at
move-
moment
of the
left
One moment
finds the
the
next finds
it
presenting a
full
loin
face to the
in
The importance,
pivot.
therefore, of
particular exer-
this
As
the
Exercise
II.,
final
recovery
series,
this
pivot
repetitions
each
itself
154
made
the
of
ending
difference,
with
identical
that
of
a second
Four
is
that
describes
at
to Plate L.^
exercise
right-angle
whereas
a
will
small
in
the
square
complete
turn,
first
as
but
case
the
the
with
the
body
CINEMA
SERIES, No.
Copyright]
Exercise VII.
in Detail
ii,
CINEMA
SERIES, No.
rf
Copyr,i,hi:\
Exercise \
II.
in Detail
ii
[coNtinncd).
EXERCISE
VII
turn
being
alone, without
will
made by
the
change of place.
it
remains stationary,
for
the
better
study
of
actual turn.
155
the
EXERCISE
THIS
exercise will at
VIII
sight
first
movement, on account of
but
it
at
so hard to achieve.
Apart from
a retrograde
apparent simplicity,
is
it
its
seem
this,
which
eight repetitions
fact, this is
difficult to
finish
upon
The
is
that they
form a
makes
judge each angle correctly, and
what they do, and
As
circle.
this
so
is
the
a matter of
much more
it
to arrive at the
start
is,
and begins by
as usual,
left
I.
This
is
foot, leaving
the right with only the extreme point of the toe touching
the
ground,
both
shows
Plate LVIII.'^
the
position
of
the
knees
this
perfectly
carry
the
feet.
tense.
altering
arms and
the arms form a right
uplifted
This
is
movement
waist
10
the
left until
made by
Now, without
position.
feet,
and
straight
When
the
>
w
<
P-i
EXERCISE
VIII
is
in
until
with
line
the
This
foot.
left
places the right foot about fifteen inches back, and the
same
means
to
right
the
that
left
to
direction.
first
which
foot length and
position,
and pointing
behind the
its
first
its
now about
is
it
of
foot,
As
the
an
at
right
really
acute
half
angle
touches
foot
the
should
foot
left
although
the
The
inches.
five
the
heel
be
will
well
now be touching
of the
big
will
the
be pointing to the
These
direction.
greatest care
as
it
was
left,
details
The
first
and
the direction of
raised,
toe,
in
are
an acute angle to
extremely
its
first
intricate,
but
must be given
Now
comes a free upward swing of the left leg into the acute
angle midway between the line of the start and the rightangle
back
turn.
up on
LVIII.^)
horizontal Hne,
On
to
it
swings
knee straightens up
come
reaching a
rise right
Plate
After
the
knee
still
bent.
downward movement
meet the
left foot,
the right
so that both
poise.
may
body into
Simultaneously with the upward swing of
an erect
(See
157
the arms
left leg,
movements
will
the
right.
These
I.,
which
will
be the
test of
It is
position
in
the
single
sequence,
as,
for
example,
leg, as
the
soon
as
the
The
and
line has
falling,
been reached.
And
so on,
remains
throughout
vertical
and
practically
EXERCISE
VIII
movement.
exercise
has
exceptionally
in
arriving
Unfortunately,
the
been mislaid,
but
full
at
Cinema
the
large
of
Series
plates
no
are
this
so
difficulty
this
series
will
provide
all
single exercise.
159
EXERCISE IX
THIS
details
of each
may become
too
no
need to fear an over-strain. If the other exercises have been
patiently studied, the muscles of the diaphragm and the
great a strain.
become
so
much
is
whole
sets of
if
strain of this
ever called
upon
to play
mean
that
This
not
Ail are
complete.
Begin, then, from the Preliminary Position by taking a
rather short step forward
and
instantly spinning
1
60
on
to the ball of
round on
it
into a
left
the
left
foot,
right angle,
<
EXERCISE IX
while
the
at
makes
right foot
a long
body
five
The
outwards.
vertical,
be
should
spine
kept
tense as to muscle,
side,
feet,
shoulder
Plate
socket.
quite
straight
still
down
at
and
each
LIX.'^
as
it
movements
that
on the left foot, the side lunge with the right, and the
bending of the knees, should all be done simultaneously
with the utmost rapidity, and in studying Plate LIX.^
it must be remembered that the start was made facing the
spectator.
Great care must be taken to maintain the
weight of the body exactly between the two feet.
The movement which follows is a backward lean of
the shoulders, together with a simultaneous push forward
of the hips
and
to
lean,
and the
farther
must come the hips and the nearer together the knees.
The
hip
ward
movement forward
lean
distance
of
the
between
is
shoulders,
the
knees
of the
what
would
is
to
avoid
be a
dangerous
strain
i6i
and
This turning in of
unstretched
leaves
the
the
knees
abdominal and
groin
hardening
condition
the
is
known
In the case of
the knees relaxes
allows
direct
inevitable
among
reaction
athletes
of
as
overstrain,
" muscle-bound."
this
all
leverage
foot.
and quicker
162
as the strain
becomes
less,
EXERCISE IX
more than
is
six
merely
times
at a
return
the
break.
to
first
therefore a
is
position.
LIX.^,
The knees
they
inch
will
drop on
to
be.
to
But now
on the ground
until within an
are not
slowly,
The
it
faint
lies
in
effort
the
of
line
is
strong
light
between them
terrific,
little
what
when
feeling
even
of
conscious
pride
forty-seven-year-old
in
muscles
are
able
to
finely trained.
163
do
after
strengthening of
the
this
exercise,
muscle.
164
EXERCISE X
THIS
He
exercise consists in
describes
tribe
and shoot
another,
in
the Parthian
of
in
one direction
expression
"a
Parthian shaft."
is
which each
From
step
half
may
as
whole weight on
off
diaphragm
the
work
an axis on
will
to
left
the
foot,
ball
of
the
bringing, as
usual, the
of
the
heel
right
just
foot
this position,
made towards
movement,
i6s
They
now be
will
facing
the
body
direction
made.
to be
is
ment
of
consists
the
direction,
while
foot with
all
toes
left
now
LX.''
been brought
have
left
The
hip.
next move-
in
foot,
left
Plate
will
it
which the
in
now
which should
the
right
the weight
takes
upon
The
on the ground.
the
face
the
place
opposite
forward
of
time the
leaving this
it,
ball
with the
leg
movement
opposite direction,
as
far
the
as
arms
arms swing
is
made
in
the
must swing
so
that
each time
directly to right or
left,
the
head and
Plate
sight.
movement.
the
for
spite
step,
from
of
which,
reversal of
the
purpose
deviation of
in
The
the lateral
movement
when completed,
of
the
represents
feet
with each
an advance of
66
X
w
<
Ci.
EXERCISE X
except
necessary
that
raising
for
taking the
camera
the
preparatory
to
second,
so
they
sequential.
of
this
shutter
are
strictly
exercise, the
eight
steps
should
be the
limit
for
the
first
attempts,
may be done
without
strain.
A
with
view to a thorough
made,
new
pivot.
These
out in
last
and having
less variety of
probably prove
movement
and
movement than
less interesting.
there
is
will
On
be found more
difficult
than any
for this
postponed
until the
of strength
and
other,
No
as they
taken,
elasticity
cinematographic
possible.
late to
had been
be included with
them.
167
EXERCISE XI
NOW
From
the
Preliminary
forward on to the
of
ball
it
Position,
take
short
step
behind and
is
of
it,
As
five or six
the forearm
inches in front
From this
drop should be made on the
toes
until
the knee
68
body
left
is
side.
so
position a
ball of the
actually sitting
on the
is
right heel.
PLATE
LXI.
Cofi\right.'\
EXERCISE XI
movement as a " drop " on to the
I do not mean that the movement may be either
on the contrary, the greatest
or uncontrolled
When
heel,
jerky
speaking of
this
muscular control
is
the
The
body.
effort
is
foot,
the
diaphragm maintaining
poise,
while the
it,
knee
The
the
fist
left
length,
left of,
shov/s
this
this
position
movement
in
The
profile.
full
at
to the
LXI.^
Plate
great
line.
of
difficulty
body
the
right
right
angle
impossible
profile
it
will
angle to
the
to
the
during
the
but
if
instep;
this
detail
view of
drop,
being
foot.
is
at
In
is
an
the
hidden, but
169
it
full
view.
this
right foot, a
still
now
on the
be
From
made
toes of the
while
The
moment
the
body
rest on
be
which
reaches forward to form the new base. The whole arm
should form a vertical line from the shoulder, and almost
brought
to
poise over
vertical
the
right hand,
the entire weight should be over this line, for in the reach
left foot,
is
which
will
secondary
On
support.
will
any weight,
the
entirely relieved of
toe,
the
so
that
it
forms quite a
completion of
this
same
the
the
line
is
at
correct,
This
line should,
if
the position
The whole
the
left,
they
In
become
lifting
170
the
still
EXERCISE
right
hand
is
movement
to allow this
XI
to disturb
relative
positions.
The
up
of
first
the
back because
hip-socket loose
but
way
leg need in no
if
keeping the
of the difficulty of
movement
of the
LXI.^ shows
a very perfect example of move-
Plate
which is
ment, restricting the body to its narrowest limits within two
planes, and is almost a better example of this than the
much-disputed Discobolus of Myron. It will be noticed
this fine
poise,
that in the reach forward the left leg has straightened into
which
is
it
is
of this leg
would be an impossible
balance.
drawing up the
ground, and
left
right knee,
it
to
descent was
first
made
position,
forward.
The
with
this
repetition
difference,
that
the
left
foot
is
bringing the right foot forward, with the uplifted arm, and
so on through six or eight of these beautiful sequences of
171
springs
swift,
knee and
of
smooth, and
foot,
on
Plate
The
vertical,
the
first
probably the
ground.
This
finest
sequence
by Plates LXII.'^,
illustrated
is
this full-view
sequence, note
which
is
quite clear
of the ground.
Cinema
positions
of
No.
Series
this
12
exercise,
shows
especially
directly
carefully
behind
172
it.
the
intermediate
more
it
may be
seen that
compared
all
CINEMA
SERIES, No.
12.
mm
Copyrilil.
CINEMA
SERIES, No.
12
Copyright.-]
Exercise XI.
(continued).
iti
Detail.
EXERCISE
WE
come now
of mental
the
required at their
From
XII
is
maximum.
left foot,
This movement
which must be
The
at least half
ball
an
all
the
Care must
let
be impossible.
will
reached
Series
the
shows
LXIII."^
horizontal
moment
line,
this
but
as
position,
before
the
perfect positions,
it
the
Cinema
is
of
no
importance.
From
without
this position, a
looking
literally a fall
last
moment.
round,
movement
is
fall
which
constitutes
is
at
the
put to such an
173
back
is
The
test.
instinct
so strong that
to
will
it
falling
It
is
looking
just this
must
As the right foot is lifted from
of necessity be unreliable.
the ground preparatory to its lunge back, there must be
no alteration in the position of the body or the head, both
being allowed to fall back as one combined weight, without the least resistance. Back, back, they must fall,
while the right knee bends more and more to avoid
touching the ground with the foot, which would check
the movement. The left knee should remain straight
until the last moment, when the torso and head are
raised, and turned like a flash right round to the right
until they have made a complete half-circle, which will
and
leave
them facing
of the start.
right
This turn
arm, which
is
is
aided by the
swung round
until
movement
the hand
still
clenched.
The
but
left
in
arm during
its
of the
level
is
utmost, the
this
movement
it
right
knee very
much
same
the
turn,
the
be exact,
it
w
<:
EXERCISE
XII
facing
is
The
We
the
left
leg
left
the
weight
and
started.
it
as the right
full
half-circle.
body
the
of
now be
it.
clearly understood
whole weight
is
not
is
LXIII.^
Plate
is
carefully
It will
ever,
if
is
on the ground, so
vertical,
and
detail.
that the
left
that the
knee constitutes
Having
left
torso, always in a
This
is
one
left
knee.
make
of the
great
movement
But,
this
if
knee
falls
on
you reach a
movement with
175
what wonderful
knees
you
will
have!
Priceless
and
on one
falling
set of
springs
Make
fatigue.
the
last
upward
rise
simultaneous
a straightening
then thyself."
And
it
is
that
will
vibrate
through
nerve
176
CINEMA
SERIES, No.
Co/yyiigJil.]
Ivxcrcis;;
XII. in Detail
13,
CINEMA
SERIES, No. 13
[continued].
A
^^
L
^
~wA ."^fcia^ti
XJ.J
*.
t__
L.ip;;,^--
CINEMA
SERIES, No.
14.
^> Mi^B^'
Copyyii:lil.\
CINEMA
SERIES, No. 14
(coiitmued).
Copyrighl.]
Continuaiion of Exercises \
I.
and
\ II.
EXERCISE
purpose
of
may go without
With
able
for
this
how
showing
XII
near
ground
the
the
knee
actually touching.
exercise
complete
ends the
training,
series
selected
although
three
as
suit-
times
as
combination makes
and Cinema
Series
very
No. 14
fine
is
series
the
of
only
photographs,
explanation
to
177
ance.
and
shall
Series
remain
No. 16
so, as
it
is
is
a difficult puzzle-picture
formed of a combination
of
is
an
given as
right
from an
effect
its
of foreshortening.
This poise
is
interest-
on
left foot,
right-angle
turns
This
movement immensely
latter
Some
knee.
on the last
very poor when compared with the same move-
showing the
turn are
ment
in
right
leg in a
horizontal
line
sequence of movement
this
achievement
if
it
succeeds
in
is
effort
of poise
such as to make
one
out
of
every
it
an
four.
knee,
of the
loss
of
the whole
what a tremendous
needed to prevent falling and to recover the
It
will
which
easily
in itself
An
be
is
seen
178
effort
was
final poise,
good.
demand
balance.
is
that they
do not
CINEMA
SERIES, No.
15,
<-
Caii^EiS-
f.
ti'fT^
Cofiyrihl.\
and
1\'
CINEMA
SERIES, No.
15
{co7itiniied).
^r
Copy) ^ni
^
Continuation of Exercises
A'lll.
and
I\'
CINEMA
SERIES, No.
Copyngkl.]
Puzzle Combin-.uion.
16.
CINEMA
SERIES, No. i6
{co7iti7iuc(l).
EXERCISE
XII
As
three
practised
some
as
far
possible,
the
basic
be
should
exercises
Personally,
do
exercises,
may
knowing
practice,
safely
leave
regulation
the
power and
that the
of
further
fascination of the
own
influence,
when
chapter
explanatory
very dull
reading,
but
it
will,
fear,
have
proved
meaning
The
becomes
are enormous.
light
touch
possible
in print irrelevancy
in
and
viva
voce
distraction.
description
Too much
be seen
at
it
If,
then,
must be remembered
179
it
that
lift
and
and
movements themselves
exhilaration,
who
have the
whom
phases of the
work
i8o'
words any
continuity of
difficulties to the
INDEX
Aegina Pediment,
position of certain
Amazon
Buddha, poise
figures in, 3
Alchemy, secret code of, 62
Bull,
M.
27
of,
Lucien, 50
Apes: formation
of
feet,
movements
fication in
modi-
16;
tation in
movement,
Architecture:
of, 17
difficulty of,
9
basis of equilibrium in,
Aristotle:
of
98;
with
by movement
movement, 34;
limbs,
41;
in
Charioteer
tion, 70;
71;
energeia, 106
connection
gravity:
of
Rome),
(Capitol,
movement
of,
descrip-
demonstrated,
reference, 4
Arm-swing, rapidity
Chinese wrestling, 38 40
Concentration, type of, demanded for
performing sequential exercises, 91,
93
Consciousness:
of, effect, 8
34;
affecting
41,
42;
the
early
movement:
37
controlling force,
feet,
17;
axis
of,
in,
11.
In
training
law
of,
of,
41,
67;
prin-
ciple of, 3, 68
Baldwin,
on the
Professor,
activities
by
means
definition,
of,
89;
92;
how
control
obtained,
88
not implying
self-
consciousness, 89
Controlled action resulting from
con-
Consciousness,
full,
tinuous motor-existence, 95
Criminals, experiments on, 26
Body- weight:
29;
when
Brain:
support
distribution
of,
in
of,
in walking,
water,
29;
true, definition, 42
required, 7
activities,
clogging
of
classified,
registration,
ditary weaknesses
on, of tension,
physical
of,
87;
movement
transmitter, 90
96;
90,
91;
95; hereinfluence
reflex
upon,
action of
86;
as
professional,
manner
Dancing, professional,
toes, 20
effect
Dancers,
of walk-
ing, 20
181
of,
on
85
INDEX
Diaphragm:
connection
with the
import-
of,
of,
of, effect,
(bad
Discobolus
copy
7;
final position,
described,
position
movement,
7;
repre-
difficulty of,
shown
average
tum,
source
described,
weight,
of,
7;
momen-
throwing
7;
of,
5,
painting,
11
10,
ment,
cause,
24;
as
spirit
2;
of
regarded
theosis of, 73
Heredity,
52
vase
68
in,
Discus:
Rome), mistake
(Vatican,
boy,
hips,
9; references, 4, 68
Discobolus
dancing
description, 84
training,
69
Discobolus (of Myron):
sentation in
Florence),
of,
Greek
will,
quoted,
hypothesis
of,
factor
chief
96
Heros Combattant (Louvre), description
in,
and explanation,
73
on
quoted,
self-control,
of,
95
53
Eternity, 52
Colonel:
Hippisley,
gravity,
Feet:
training,
13,
connection
14,
and
15;
between,
16,
17;
knees,
train-
and explained, 75
economy of: on what
48;
on the centre of
description
of
designs
43
as defined
by, 54
Homer,
in,
Iliad,
will-power
alluded
to
scribed
Force,
pends,
34;
resulting
movement, 54
Fortuna (Naples), poise
in
of,
it
de-
beauty of
described,
83, 84
Geometrical Movement,
see
ment, Geometrical
Greek dance, balance
shown by, 83
movement
182
Move-
in
origin,
Japanese wrestling:
semblance to Greek, 38
38;
re-
INDEX
Jujutsu:
origin,
38
P^STUM, Temple
of
Athena
Pallas
of
Neptune, 36
Aeginetan Pedi-
of,
19;
17,
and
connection
between,
nastik
Pettigrew,
" Hellenika
Professor,
Gym-
referred
38
four directions
in
feet,
82
Leonardo da Vinci, 67
Loewy, Professor, on the Charioteer,
70; quoted, 5
Marey, Professor, 64
latest
method of training, 86
Movement: beauty in, how obtained,
54; of body in water, 39; disconnected, definition, 32, 33.
explanation of
52
63;
harmonised, definition,
for mathematical accuracy, 67; law of rhythmical, 34.
Sequential: acceleration acquired by,
54;
34;
in, 53;
necessity
definition
results
action
Muscle:
of
of, 87.
full
and explanation,
practice
of,
Types
of,
consciousness
33;
Reflex
92.
32
movement,
definition
55
alteration
position
in
of,
42;
on
feet of perfect, 18
28,
instructions
29;
defor,
29
ment, 87
Richet, Professor Charles, 50, 64
Rod, Edouard, on the idea of move-
ment
in architecture, 36
Sargent, referred
Schroeder,
Dr.,
to, 67
on
interpretation
defini-
Tension
of
an obstacle to
consciousness, 89
Shoes, recommendations
Socrates,
on
re,
self-control,
19
quoted,
full
93
of,
37
Spirit, Greek conception of, 105
Statues,
^^y.
geo-
of,
Optical Registration:
to
Geometri-
plates,
relation
in
movement, 50
cal:
of,
Physical
Pivot:
Lance Throwing,
165
in
movement, 64
force,
metrical
Thibet,
experiments
of,
Professor,
in design in
Physical
18
Krause,
to,
foot,
30;
18
Parthians, survival
principles
of
balance shown
of geometric
Tendon Achilles,
exercise
test of, 58
183
for
the
INDEX
Tension: as affecting centre of gravity
in movement, 40; affecting sequential
movement,
described,
nection
of,
34;
condition
definition,
98;
21;
of,
con-
by means
by
physical and mental
maximum
means
of,
processes
ant
94;
activity gained
connected by,
power of,
shown
tion of,
of,
Walking:
of
diaphragm,
muscles,
resist-
special
condi-
trolled,
in representation of
unborn
100;
96;
Unregistered Impressions,
of
Iliad, 106
8;
by
of the
self,
constitut-
the
tension, 98
Greeks, attribution
95
184
effect
Youth of Subiaco
resistance, 99
of,
on
and unconthe mother on the
106;
instinctive
Titian, 67
2;
Wrestling:
99
at,
24
87;
by means
(ascribed to Myron,
Rome), position described and explained, 76
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