The qualities to be desired for perfection are:—

The torso must be so posed as to render aid to the head and arms in emphasising what has been enumerated, according to the line of beauty, that is to say, whilst the head and strong leg must agree, say, looking to the left, the torso must incline to the right, always in opposition to the head and strong leg.

This opposing law of the three parts of the body constitutes the great beauty of harmonic poise. When the head is thrust forward the torso inclines backward, and vice versa head backward and torso forward, or you stumble and fall-bear in mind that "Beauty is Power."

Stand firmly and rotate head to right, torso to left, from the waist, not the thighs. Repeat the motions both ways several times, to attain flexibility and ease. Sinuousness and grace depend on the easy control of the muscles of the waist. Too much practice cannot be expended on this branch of study. It should be practised backwards, forwards, and sideways, always inclining the head in the opposite direction; sway slowly and frequently, and acquire by practice and patience that unconscious excellence which fascinates beholders.

Ladies should cultivate the expression of the ankle.

POSITIONS AND MOTIONS OF THE HANDS,

ARMS, AND SHOULDERS.

WE pass on to consider the arms, with their dependencies. They command our greatest attention next to the expression of the head and features, and must be considered in connection with the three rules that we apply to all complex movements.

The arm, hand, and fingers are united in a flexible line of many joints, to combine their common action in forming the grand results of graceful gesture. Their main divisions are:

THE SHOULDer.

THE FOREARM.

THE HAND.

The centre of motion is the shoulder, and the joints. of the forearm and hand become new centres of motion between it and the fingers. Accordingly the upper arm first arrives at its position; then the forearm, turning on the elbow joint; thirdly, the hand from the wrist; then a fourth motion of the fingers from the knuckles next the palm, to expand the action and complete the grace (Figs. 22, 23, 24, 25).

To the three main sections may be attributed three

Grace of motion flows from the brain and operates on

the shoulder and arm, and there can be no force in the arm if the muscles of the shoulder are neglected. "Hit out from the shoulder;""He stretcheth forth his arm;" "The protecting arm of his country" are familiar expressions signifying vital power.

The shoulder intervenes in all forms of emotion :

THE COLLOQUIAL. THE RHETORIC. THE ÉPIC.

:

It determines the degree of warmth, of intensity, though it does not specify their nature, but it undoubtedly shows by association with the face whether love, hate, contempt, or indifference are the inspiring cause of motion. Its power is limited, like that of the thigh, from which the first impulse in walking should

be felt. The shoulder rises sensibly and involuntarily when a man is moved, and it determines the initial phenomena of the inherent powers of the organism (of gesture), the reverberating of interior gesture, which gives it birth and rules it.

The forearm forms an inflexible line inwards, and should hang with perfect flexibility from the upperarm (humerus), not touching the side. The simple motions of pronation and supination (prone, downwards; supine, upwards), the motions wherein the radius and uina cross each other, should be diligently practised.