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THE RENAISSANCE OF
THE GREEK IDEAL

iT)

%'

THE RENAISSANCE OF
THE GREEK IDEAL
BY

DIANA WATTS
(Mrs. Roger Watts)

WITH ONE HUNDRED AND FORTY-FOUR


ILLUSTRATIONS AND DIAGRAMS

NEW YORK
FREDERICK A. STOKES COMPANY
MCMXIV

Text copyrighted, igi4, by

Frederick A. Stokes Company


Illustrations copyrighted in

Great Britain

April, jgi4

^^/^^,

{zi3^o)

'To all those

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

and that of the Modern

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

by the Laws of Balance

CHAPTER

Mental Reactions

Human Movement

CHAPTER
The

IV.

CHAPTER
The Application

in.
.

CHAPTER

n.

Essential Training of the Foot as Base

CHAPTER

...

VII.

86

VIII.
.

Detailed Explanations of the Twelve Basic Exercises

103

115

vu

ILLUSTRATIONS
PLATES
FOLLOWING
PACE

NO.

The Herakles
The Author's
II.

of the Aegina Pediment

Reproduction of the Herakles

First Position of

the Archer

Second Position of the Archer


Final Position of the Archer

Bronze Reproduction of the Discobolus of Myron

Va.

Discobolus of the Castel Porziano

VI.

Taking Aim

III.

IV.

V.

The
VII.
VIII.

IX.

X.
XI.
XII.

6
6

The

Swing Back
Final Position

Diagram of the Author's Foot Before and After Training

The

XV.
XVI.
XVII.
XVIII.

XIX.

XX.

Author's Walking Shoes

12

20

Greek Vase Picture Illustrating the Principles of Tension


Exercise for Stretching Into Tension.

Four Positions

24
30

by a Wheel Fixed to a Horizontal


Which Was Travelling Around an

Made

Bar, the Pivot of


Ellipse

XIV.

....

Author's Reproduction of the Discobolus

Designs of Curves

XIII.

Curves Which Ultimately Become Changeless and Endless


Curves Produced by Alteration in the Length of Bar
More Complicated Curves Produced by a Further Alter.a
TiON IN the Length of the Bar
.

Optical Registration of Exercise IV.

Geometrical Version of the Same


Optical Registration of Exercise

Figures

44
44
54

....
....

III.

Geometrical Version of the Same

Two

44

56

Four Figures

58
58

Optical Registration of the Combination of Exercises VIII


and IV. Three Figures
IX

60

ILLUSTRATIONS
FOLLOWING
PAGE

NO.

XXI.
XXII.

Geometrical Version of the Same

Geometrical Version of the Same

XXIV.

Optical Registration of Exercise VII.

XXVI.
XXVII.
XXVIII.

Figures

60

60

Three Figures

62

Geometrical Version of the Same


Optical Reristration of Exercise V.

62

Four Figures

64

Geometrical Version of the Same

64

Geometrical Version of Exercise

64

The
XXX. The

XXIX.

XXXI.

Two

Optical Registration of Exercise VIII.

XXIII.

XXV.

60

A.

II

Charioteer of the Capitol, Rome

70

Apotheosis of Herakles

74

Heros

Combattant du

Louvre.

B.

The

Fighting

Theseus

XXXII.

A.

76

The Youth of Subiaco. B. The


That of the Youth

Position to

Author's Alternative
of Subiaco, Showing

Strong Position of the Left Foot

78

The Amazon of the Vatican


XXXIV. The Author's Altered Restoration of the Amazon
The Author's Reproduction of the Amazon
XXXV. Full View
XXXVI. Profile View

XXXIII.

XXXVII.
XXXVIII.

of

80

82

Without Lifting the Feet


Position With the Feet Still Un-

Volte-face

changed
XLI.
XLII.

XLIV.

Position

XLV.
XLVI.
XLVII.

84
Profile

....

the Aphrodite at the Villa Item


Showing the Lightness Resulting from Extreme
Tension
Position of the Greek Dancing Boy
Another Position
Position of

Final Position

82

82

The Goddess Fortuna


The Author's Reproduction of the Fortuna in
The Author's Reproduction of a Greek Dance

XLIII.

82

Athena

First Position

Another Change of

80

80

....

The Athena of the Aeginetan Pediment


The Author's Reproduction of Vase Paintings

XXXIX. A Complete
XL.

78

84

84
84
84
84
84

ILLUSTRATIONS
FOLLOWING
PAGE

HO.

Example of Tension in a Falling Cat

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.

Profile View of Exercise

LXII.

Full View OF Exercise XI

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

Showing the Movement in the Author's Reproduction of the


Discobolus. Twenty-two 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-

Showing the Movement in Exercise


cises.

Ten

of the

Twelve

-73

Basic Exer120

Positions

6.

Showing the Movement

IN Exercise

7-

Showing THE Movement

IN Exercise III.

II.

Twenty-one

Twenty

Positions

Positions

xi

124

134

ILLUSTRATIONS
FOLLOWING
PAGE

110.

8.

Showing THE Movement IN Exercise IV. Twenty Positions

9.

Showing THE Movement

IN Exercise V.

Fifty Positions

138

142

148

154

172

176

10.

Showing the Movement in Exercise VI.

11.

Showing the Movement IN Exercise VII.

12.

Showing THE Movement IN Exercise XI. Thirty Positions

13.

Showing the Movement

IN Exercise XII.

14.

Showing the Movement

in a

Forty Positions

Thirty-two Positions

Forty-one Positions

Combination of Exercises VI and VII.

Forty Positions
15.

16.

Showing the Movement


IV. Thirty Positions

Showing the Movement


Forty-one Positions

Xll

176
in a

Combination of Exercises VIII and


178

in a

Puzzle Combination of Exercises.


178

THE RENAISSANCE OF
THE GREEK IDEAL
CHAPTER

COMPARATIVE ANALYSIS OF THE ANCIENT GREEK DEVELOPMENT


AND THAT OF THE MODERN HUMAN BEING
"

No

be an amateur in the matter of


what a disgrace it is for a man to
physical training:
grow old without ever seeing the beauty and strength of which
"
his body is capable!
Socrates. Xen., Mem. Hi. 12.

OF

citizen has a right to

....

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

since their time.

They proved for all time that this condition of physical


excellence was possible in a human being. How the secret
attainment was lost will probably never be decided,
as not one of the many theories can ever be proved.
The fact only remains that a rising wave of unequalled
of

its

physical and mental development carried these wonderful

people on

its

crest for

one

brief period of realised perfection,

during which they were able to grasp the

full

meaning

THE RENAISSANCE OF THE GREEK IDEAL


of Liberty under the

Law,

not only as a nation, but also

as individuals.

The modern human being

has drifted so far away

form from the Greek as to fail to realise the


differences. These differences, however, are not organic,
in physical

but are in
I

all

probability the result of early training.

myself began as an ordinarily active

human

being,

but, in the course of training, development, researches,

and

knowledge that led to a


that of the Greeks than any

discoveries, gradually acquired a

condition which

is

nearer to

other that has yet been achieved.

The

secret consists in a condition of the muscles totally

from any realised by athletes since the time of the


Greeks, a condition of Tension, which transforms dead
weight into a living force, and which made the Greek
as different from the modern human being as a stretched
rubber band differs from a slack one.^
There are frequent allusions in the Iliad to this power
possessed by the Greeks of transforming their muscles on
different

superhuman force,
and although much must be allowed for Homer's poetical

the instant into a condition of almost

imagination, there

It is interesting to

was acquired has been

is

no doubt that

this

note that, although the secret of


lost,

extraordinary
how

this condition

strong evidence remains that a special science

from Mr. Norman Gardiner's


book on Greek Athletics:
" There arose in the middle of the fifth century a new science of
gymnastics, which aimed not at the performance of particular exercises but at
the production of certain physical conditions (16s, Xenophon, Mem. I.e.;
existed, as will be seen in the following extract

Aristotle, Pol.
cess."

"

1338 b.), especially the condition required for athletic sucE. Norman Gardiner.

Greek Athletic Sports and Festivals."

PLATE

Photo

I.

Ciraiitloii.]

The

Herakles ot the Aegina Pediment.

THE ANCIENT GREEK DEVELOPMENT


was always produced by will-power acting on some
special physical condition which resulted in a complete
restoration of exhausted powers, taking away all sense of
fatigue, and placing the body once more under an alert

force

control.
It

which

would be impossible
I

means by
the same which

to prove that the

discovered this force in myself are

gave the Greeks their marvellous physical superiority; but


it

will

probably be conceded

that

there

is

sufficient

similarity in the results to justify the hypothesis.

Among

Aegina Pediment are one or


two figures, the correctness of whose positions has been
questioned on account of their seeming physical impossibilitynotably that of the crouching Archer with the
lion's head helmet, supposed to be the Herakles.
This
exquisite statue is an example of what, to the modern
human being, is an impossible position, owing to the
difficulty of maintaining a balance on so uncertain a
the statues of the

base.

This was the

first

statue

on which

tested

my own

newly discovered principle of balance in movement under


tension, and with the test the whole sequence of movement
came as a revelation. Passing through the positions which
led up to that chosen by the sculptor, I proved it to be
not only possible, but inevitable, as also the subsequent

recovery to

an

erect

principles of balance,

poise of

enough

all

the

most

position.

In

demonstrating the

which make possible the momentary


vividly

animated statues,

to give a careful imitation

of the

it

is

not

one position
3

THE RENAISSANCE OF THE GREEK IDEAL


chosen by the sculptor.
truth,

it

is

To

prove

its

naturalness and

necessary to show what led up to that

its

momen-

and what followed it, and if all three positions


produce an uninterrupted sequence it is safe to conclude

tary poise,

that the central poise

is

correct.

In giving photographs of

my own

reproductions of

certain statues (for the sake of comparison with the originals)


this is the method I have adopted, and in the case of

three of the most important statues (from the point of view


of movement), viz., the Discobolus, the Archer, and the

Charioteer, of the Capitol,

have added selections from

cinematographic photos showing

how

these positions were

achieved.^

shows the original of the Archer of the


Aegina Pediment, and Plates II., III., and IV. my
representation of his completed movement, while Cinema
Series No. 1 gives the detailed analysis of each change of
One can
position,^ with an enlargement of No. 12.
picture him first, standing erect, peering round the corner
of a boulder, or from behind a bush, watching for his
enemy, when suddenly he spies him, and in an instant
Plate

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

page of cinema detail has been numbered as a guide.


Unfortunately the bow and arrow which are shown in the larger photos
did not arrive in time for the cinema pictures, which were the first taken, but
their absence makes no difference whatever to the actual movement.

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

Reproduction of die Discobolus of Mvrou,


'I'cniic

Museum, Rome,

PLATE

Va.

Photo Atinan.

Discobolus

of"

the Castcl Porziano.

THE ANCIENT GREEK DEVELOPMENT


drops from a standing position, in which he was exposed,
to a

crouching one,
arrow

fly his

The drop

which he

in

is

covered and can

let

in safety.
is

made

in

one single movement, by the

simultaneous bend of the right foot and knee, and the

throw-out of the

left

leg,

with the foot well

in

front, to

allow the greatest possible bend of the right foot and


knee,

all this

having been performed without disturbing

The recovery

the vertical line of the torso.

merely the drawing back of the

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

strikingly beautiful because of

its

simplicity.

Myron, the pho-

Plate V. represents the Discobolus of

tograph being that of the

Terme Museum

in

Rome.'

bronze reproduction

Considered

in the

statically,

it

is

reproduce the position of


statue correctly; considered dynamically, it has never

a comparatively easy matter to


this

been clearly explained.

On

the contrary,

it

has often

and even Professor Loewy


regards it in that light." It has also been compared to "an
involved figure of speech." But, as soon as the laws of
equilibrium in movement are understood, this wonderful
been described

as a contortion,

momentary poise explains itself with perfect


The rules regulating the throwing of the discus
the competitors to a limited space, and in

my

clearness.
restricted

interpretation

photo of the unrestored statue of the Castel Porziano in marble is


also shown, as the resemblance of the cinema enlargement is stronger to this
than to the bronze reproduction; this is given as Plate Va.
" " Nature in Greek Art."
Emanuel Loewy, p. 87.
^

THE RENAISSANCE OF THE GREEK IDEAL


have assumed that the Discobolus allowed himself four
The first position would necessarily be that of
steps.
I

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

farther the discus

travel,

mark than when merely letting the discus fly


The wavering of indecision, replaced by
at random.
directness of intention, finds its corresponding economy of
force in the physical expression, which results in a more
Plates VI., VII., and VIII. show the
powerful throw.
definite

striking

three

taking aim

is

That of

positions

from

followed

by a short run of three

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

in line over the base (see

All the force of the throw depends

on the

This backward movement


freedom of the shoulder-swing.
of the arm and head produces a momentary pause in
the forward momentum, during which the left foot
performs a supple trailing movement on the bent-back
toes, offering no resistance either to the pause or the

momentum,
final

held

in

abeyance, as

gathering together of

throw.
6

The whole weight

all

of

it

were, ready for the

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,

THE ANCIENT GREEK DEVELOPMENT


foot,

whose

ground with tremendous tension,


back of the body by the backward

toes grip the

any pull

to prevent

swing of the discus arm.

Looking
notices

decided

the

centre of gravity

end on, so

statue,

this

at

lean-over

the

to

although the

left,

over the right foot.

is

one

speak,

to

This

due

is

to

the necessity of counterbalancing the weight of the discus,

which averaged 10

The

lbs.

position

final

cobolus, as represented by Plate VIIL,


the

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

the thing to try for.

it

of

alone,

in

there

as

it

loose, free

needed

is

this
is

has to

The

force

no
fly,

or

an object thrown depends, not on the

on the

rapidity

this acceleration

depends

of a following-on weight, but


it

The

forward.

swing

its

body weight

opposition to the discus.

and acceleration
travelling power

the uplifting of

hand determines the distance


force is dependent on the freedom

No

follow

Dis-

the

produced by the rapidity


shoulder

flies

is

the

of

leaves the hand,

and

on freedom from friction or resistance. Therefore, anything


that might hinder its speed must be carefully avoided.
The main weight of the body must be so perfectly balanced
that no danger of a fall forward can occur at the last
moment.
Body-weight, as a following-on movement, is
needed only in the case of a blow.
In this case, the arm
meets with a sudden reaction from opposition, and the full
power of a drive from the shoulder can take effect only
7

THE RENAISSANCE OF THE GREEK IDEAL


when

the body-weight follows closely on to counteract the

effect of the reaction.

Cinema

In the final position of

No.

Series

gives a detailed analysis of the changes,

arm

the rapidity of the arm-swing has carried the

above the head,


air,

of

with

its

forward foot

The

gravity.

whole body

lifting the
still

enlarged for the purpose of comparing


statue,

and when

it

movement

the whole

remembered

is

itself far

the

with the centre

been

this series has

position of

central

how

into

straight

in vertical line

which

be seen

will

it

2,

with that of the

it

the rapidity of

that

such as to render impossible any

is

conscious imitation of one

special

between the two are surprisingly

pose, the

The

small.

differences

final position

has also been enlarged for the better observation of the

tremendous tension
rapidity of rotation,
is

and foot muscles. The


on which depends the accuracy of aim,
in all the leg

given by the final twist of the forefinger as the discus

leaves the hand,


of

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

also governs the height

full

its

in

the

leaves

height,

distance

the

momentum, the weight poised


which has come forward on the trail-

of

soon as the body

from

overbalance
final

position

is

all

the

erect,

is

force

body

is

of

the

more

throw.

erect,

thrown back instead of being lowered


8

it

takes

checking any chance of

almost identical with the

difference, that the

with

tense

ing movement, ready for the fourth step, which


as

hand,

first,

Thus, the
with this

and the head

to the line of

is

the

THE ANCIENT GREEK DEVELOPMENT


right

arm

when taking

as

arm

aim, and the

itself is

above

the head.

Cinema
a

No. 3 gives ten photographs representing


finish, which alteration begins the moment

Series

different

discus

the

coming
turned

to

In

this

stop on the highest

full

and came right round

arm acted

instead

series,

the force of the throw back on

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

which I have been unable to


up to the present moment. It would seem probable
those athletes who were not quite sure of themselves

paintings, a photograph of
find
that

for the suddenly-arrested finish, practised the circular leap

back
to

to avoid over-stepping the

what

see

other

explanation

boundary.
could

It

is

account

difficult

for

complete reversal of position shown on some of the


An enlargement of one of the positions while in the

shown

for the

the

vases.
air is

purpose of demonstrating the force of the

arm-swing which

is

so obviously carrying the

body round

would seem at first sight that both these


statues, the Archer and the Discobolus, might be quite
easily represented in movement, but the first attempt will
with

prove

It

it.

that

positions

in

this

is

not

each case

The sequence

so.
is

only

muscles exquisitely trained to

and balance.

possible

elasticity,

of

all

three

to achieve with

exceptional activity,

CHAPTER

II

THE ESSENTIAL TRAINING OF THE FOOT

THE

Greek child was

age of

five,

AS BASE

sent to the Palaestra at the

and, judging by the testimony of Greek

their

must have modified the shape of


children before they began their gymnastic train-

ing.

Antique Art gives us many

Art, the mothers

illustrations of this.

We

have no grounds for thinking that the Greek baby was


different from any other baby, but every reason for thinking

Greek mother was responsible for its eventual


development, more especially for the way in which it
stood and walked.
The neck was carried much farther back on the spine
without throwing the chin in the air; the hips also were
more behind the body than under it; the elbows farther
Above all, the child
back and turned in instead of out.

that

the

was made
planted

to

in

walk on the inside of


straight

line

with

the

its

foot with the toes

heel

turned

never

outwards.
Finally,

object of

its

but to learn

when

the child went to the

training

how

was not how

gymnasium, the

to develop

its

muscles,

to transform their condition, at will, into

one that rendered the whole body master

of itself

on the

instant.

The

result of this

was twofold.

In the

first

place,

it

entirely abolished all sense of fatigue, and, in the second,

lO

TRAINING OF THE FOOT AS BASE


it

gave an extraordinary precision of movement, the outcome

command

of a perfect

There are many

over the muscles.

illustrations

evidently

attached

lines, the

trainer standing

exercises

to

tions, while the pupil

some

position

special

Museum

represents

knees, with

distance

front

in

carries, as

trainer

endeavour to maintain some

One

vase

behind

long

stick,

it,

the

in

baby crawling on

holding out

usual, a

performed along straight

advancing, with eyes fixed upon

balance.

of

of the importance

behind the pupil giving instruc-

in the

object,

distant

is

on vases

its

British

hands and

and the mother some

her

The

hands.

trainer

with which he emphasises

and guides the small pupil along a line.


The two most important things, then, with which the
Greek child began its physical training, were the cultivahis explanations

tion in

its

muscles of a condition that made possible the

maximum amount

of

activity,

and the mastering

of the

laws of balance, which enabled that activity to be controlled

with the smallest expenditure of force.

The

feet,

being the most important factor

in balance,

received the most careful training, and Antique Art gives

numberless
of

the

illustrations of

foot,

to

special

movements on

accustom the pupil

to

the ball

dispense entirely

with the heel as necessary security for balance, and teach

him

to maintain the centre of gravity over the forward part

of the foot.
foot.

that

This

is

The form of
of a modern

which

is

Greek
different from

the explanation of the beautiful

Greek foot is totally


foot, and rhe strange sense

the

expressed in nearly

all

of flying

antique representations of
II

THE RENAISSANCE OF THE GREEK IDEAL


movement

due

is

to these

wonderful

The

feet.

first

three

were very much longer, and were thin and nervous

toes

the fourth toe

like fingers;

toe not at

was barely used, and the

little

being nearly always well above the ground,

all,

reason for this being the spread of the pad on the

the

outside of the foot, which formed a sort of

wing on which

ground contact and movement were centred. This


wing, which is that part of the pad immediately below the
little toe, was the secret of their wonderful flying movement.
It has practically ceased to exist, but so great is the power
all

the

of predestined form, that,

Nature,

degree

given

if

Plate IX.

errors of this type.

from

interesting

is

years of distortion.

of

spite

chance, will repair to an incredible

human

all

in

my own

dotted lines represent the outline of

The

view.

this point of

foot without

a shoe, taken at an interval of five years between the two

diagrams'; while the thicker lines represent the respective

worn,

soles

in

taken from a smart

No.

that

2,

case

the

worn

Bond
at

of

No.

ago, and

years

five

Street shoe, and, in the case of

the present day,

and made by an
In Diagram

equally smart Sloane Street shoemaker.


will be noticed that the point of the toe

is

in direct

with the middle of the heel, as shown by the line

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

ball of the foot

over towards point F.


as

this

particular

at

of

the

point A,

This contortion

joint

These diagrams have been of course reduced

it

line

the foot into this line, the joint of

fit

big toe, where

way

is

in size.

partially

PLATE

No.

The

foot

IX

No.

I.

when wearing

the

habitually shaped shoe.

The

foot

2.

when

alIo\ved

perfect freedom.

13

THE RENAISSANCE OF THE GREEK IDEAL


one

revolving

perfect balance

on

was made so

more

that part of the foot destined to

carry

but

it

to

facilitate

and this fact proves Nature's


The
intention of leaving absolute freedom at that point.
result, therefore, of bending the toe to the side, locks this
joint, and makes even a slight bend a constant strain.
body,

weight of the

the

But, what

is

still

more important,

impossible any bend at

this

contortion makes

of the second joint of the big

all

which is formed to move backwards and forwards


only; and with the rigidity of this joint comes the paralysis

toe (B),

of

all

joints in line with

Diagram

it.

on Plate IX.

make

will

this

clear.

represents the junction joint of the big toe and the ball of

the foot,

the second joint of the big toe, rendered rigid

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

in this part of the

depends for

and

movement

actual

to leverage

that

therefore

the

of
to

the foot

D, and

rendered useless, although

is

part provided with joints

The

fact

is

is

only
in

in front

the only

elasticity.

of

the

foot

and D, and

foot but only a

elasticity

it

all

is

is

thus restricted

as there are

no

joints

strong tendon, which

on the freedom

of

A,

the

movement

and the weight cenand E. The


tre is thrown back to midway between
wrench of the muscles at A, necessitated by the angle
cannot

fail

to be

performed

in jerks,

AF,
the

produces
weight

of

callosities

the

smaller or greater according to

individual.

Diagram

is

good

TRAINING OF THE FOOT AS BASE


specimen of the foot of a modern woman, yet even this
represents pain and fatigue and distortion, solely from

the fact that joint

Diagram 2 on
five

years later.

is

unbendable.

an outline of the same foot


has been liberated by making

Plate IX.

Joint

is

AF

the shoe a different shape, and restoring the angle

to

a straight line, and Nature has responded by bringing back


the big toe into this line, as was always intended.

This

which can only bend forwards and backwards, the


freedom it needs, and at the same time liberates all joints
in the line from B to C.
The swing-back of the big toe
gives B,

into a straight line considerably shortens the line

while

enormously lengthens

it

that of

to

D,

ening process taking place in two directions,

upwards

to B,

the length-

viz.,

from

and from the same point downwards to D,


gradually getting lower as the wing of the foot responds
to its freedom and takes its natural spread.
The nearer
to F,

point

more

perfect will be the spring

becomes

to

the narrowing waist of the foot, the

ment, for the reason that

and on

to

and balance of the movethe triangular bend from


to

constitutes

complete leverage

is

of the foot to a point

A, and

from the middle

carried forward

the line

on the
to

the

use

of

the

of

the waist

ball of the foot, a little inside

is

now

traced

from the inside

edge of the heel to the point of the big


restored

itself,

The weight-

without the need of any help from the heel.


centre

in

forward

part of

Having
the foot, and
toe.

was never intended to carry,


the mainspring or tendon which is placed all along the
relieved the heel of weight

it

IS

THE RENAISSANCE OF THE GREEK IDEAL


waist of the foot and
Achilles,

becomes

works

connection with the tendon

in

strongly

elastic,

and

the

heel

itself

becomes much smaller, the tendon Achilles finer, and


more nervous, and all the thickening and swelling of this
tendon, which is usual under modern conditions, disappear,
and it is possible in many cases for the foot to become a
thing

of

beauty, even

after

many

having lived

years in

a distorted condition.

have gone into this subject of the foot

at

such length

on account of its enormous importance in all


do with the highest development of balance.

that has to

perfect the development of the

more rudimentary
needed

will

become

period

human being becomes,


the

little

toe,

which

in a condition of uncertain balance.

development of the ape

when he used

is

all

The more
is

the

only

The gradual

sufficient proof of this.

In the

four limbs alike, for climbing and

scrambling, the uniform formation of

all

four extremities

hand he was literally quadrumanous.


Gradually, he became more frequently erect, and the
unaccustomed strain of a heavy body on only two of the
limbs forced the knees outward and gave him his bandy
His weight was thus thrown on the outer edge of
legs.
the foot, the little toe and its neighbour were specially

was

that

of

developed, with the result that as the ape exists


his feet are

wide at the

shortening, and although


quite sure of himself
this

the

on two

widening of the toes

But

toes.

will

his

toes are gradually

knees are

legs.

In

at present,

all

still

bent,

is

primitive tribes,

be noticed, together with the

projecting heel, both being the result of the outward


i6

he

bend

TRAINING OF THE FOOT AS BASE


of the knee, to a greater or lesser extent according to the

And

different races.

many

as the feet are the last to change, in

cases the knees are already finely developed while the

toes remain spread, as, for example, with that magnificent


tribe the Zulus,

although even there the majority have

The

the outward curve at the knee.

large projecting heel

also a result of the effort required to preserve

is

balance, and this, like the


its

original size

when

little toe,

still

becomes

an uncertain
less

than half

a perfect balance transfers the weight-

centre to the ball of the foot.

To

this

gradual straightening into an erect position

be ascribed another extraordinary

which cannot be exaggerated.


he

intelligent;

is

awakening

The ape

developing into a

quite lately he has


this

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

which in the human being


is the radiating centre of all power and control through the
medium of tension, and would appear to have become so
through the influence of some unknown force operating
through the vertical only.
altered position of the diaphragm,

To
is

return to facts, what

wish to make clear

at this

point

the connection between the widening foot and the outward

bend of the knees produced by uncertain balance. When


that becomes true and secure, the knees become gradually
straighter, and the weight-centre is brought into so direct a
line over its base that a very
finally the straightened

end

at the

much narrower one

main bones

of

and
the leg and instep which
suffices,

big toe are the only ones required for balance.


17

THE RENAISSANCE OF THE GREEK IDEAL


The

narrowing of

result, then, of a perfect poise, is the

the toes, with a concentration of the

movement upon

the

three longest, and a corresponding diminution in the size of

All sensation of balance has to be transmitted

the heel.

through the

feet,

which constitute the only normal point

contact with the earth for the erect

The

feet,

then, are the

first

human

to register

being.

any alteration in

the balance, and should for that reason be the


a care and a training that will

of

first

to receive

enable them to respond

unerringly to a rapidly-changing centre of gravity.

seems hardly necessary to point out that

It

this training

involves the complete renunciation of the high heel,

means an
body, and at first

in itself

the springs

entire readjustment of the


it

reassert

feels strangely

themselves, as

which

weight of the

unbalanced

they surely

but

when

will,

one

awakens to a new world, to a consciousness that the familiar


metaphor of "walking on air" has become a reality, when
every touch of the feet to the ground sends a thrill of
elasticity

ringing through one's nerves.

may

It

effect of

be argued that the use of the high heel has the

throwing the weight forward on to the

toes.

This

must be remembered that the toes in


this position are rigid, and the angle at which the foot
is unavoidably placed on the ground takes away all elasticity
of the tendon which forms the mainspring of the foot, so
that it becomes powerless from being constantly at full
The whole foot having been made rigid under
stretch.
is

quite true, but

it

these conditions, the weight of

would

naturally pitch forward

i8

the body,

upon

the toes

if
;

held erect,

but as these

TRAINING OF THE FOOT AS BASE


make any independent movement

are unable to

of adjust-

ment, the balance has to be saved by the knees, which

become bent

to prevent the fall forward of the body.

Thus,

while the springs of the instep are strained to breakingpoint, those of the knees never reach their full stretch,

eventually

become contracted.

body under these conditions

The

and

actual weight of the

thrown back upon the heel,


although the toes actually touch the ground first.
People often object on the score of ugliness to the
abolition of the heel and the alteration of the ordinary
is

modern

and I confess that


everything I have ever seen which claimed to be a
"naturally" shaped or "hygienic" shoe has been of a
form that would have made me willingly wear a dispointed

toe

the

of

shoe,

tortion forever rather than see

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

Some people may have square feet, but


hand many of us have not, and as no

on the other
amount of assurance
inside

my

three-quarter

my

the

have thought

straight
it

best

actual shoes.

pair

of

walking-shoes

inch heel, which

are

with

identical with

those of the indoor shoes, but with the small heel added
for protection against street

Personally,

would recommend

have equally thin pliable


the foot to

together

work

with a

mud.

freely;
soft

felt

soles, to

the

that all shoes should

enable the springs of

movement thus promoted,

inside

sole

for

cold weather,

ensures more warmth than a thick hard sole can ever do.
19

THE RENAISSANCE OF THE GREEK IDEAL


It

when
the

may be questioned why


not actually pirouetting

toe,

walks

with

touching the ground

of

over

the

contortion
instep,

The

no

artificial

explanation

dancing has been acquired

that all professional

cost

sandal.

is

the toes, and of

of

the

all

of

obviously

very

heel

although there

on the professional dancing

heel
is

on the extreme point

natural

the
first,

the professional dancer,

at the

muscles

even in the case of the finest modern

dancing as shown by the Russians.


This contortion makes possible for quite long periods
the

performance of marvellous

extreme point of the big

feats

toe, but

balance on the

of

when

it

is

not possible

movements any longer, the weight of


the body falls back inevitably upon the heel to relieve
For this reason no dancer, howthe overstrained toes.
ever wonderful on the stage, will be found to have
beautiful movements in walking, stage perfection, however

to continue these

marvellous, being the result of trick work, possible only


to

acrobats,

and resulting

inevitably

in

the

abnormal

development of certain muscles together with a stupendous


This it is that makes
overstrain of all the vital organs.
the life of the professional dancers such a short one, and
in

Russia they are not allowed to appear on the stage

after

reaching the

age of twenty-five, being considered

by then quite finished

20

X
w
h

CHAPTER

III

DEFINITION OF TENSION

AT

THE
the

beginning of the

chapter,

thing the Greek child learned

first

went

last

Palaestra was,

to the

how

said that

when

to attain in

it

its

muscles a condition that rendered the whole body master of

on the

itself

instant.

This condition was one of complete Tension.

The meaning

of

word

this

**

Tension " has become

so distorted that, being confused with rigidity, the stiffness

and

unnecessary force,

strain of

it

is

generally considered

as a condition to be avoided.

The

true definition of Tension

That which
is

as follows

" Elasticity."

given in the "Elements of Dynamics"^

is

" Tension

is

is

the stress

when two

bodies are

and the force exerted on either is


directed towards the other. Thus, when a mass is suspended
by a string from a fixed support, the force which keeps the
body in its place is directed upwards, the force which is
exerted on the point of support is directed downwards."
This definition is rather difficult to understand at first,
by reason of the statement that " the force exerted on either
is directed towards the other," which appears contradictory
but, with a little thinking, becomes quite clear.

connected by

Tension
term,

stress,

a string,

is

obviously

stretch, or,

to use

which condition becomes one


^

Rev.

J.

L. Robinson,

the technical
of

elasticity

M.A.
21

THE RENAISSANCE OF THE GREEK IDEAL


to

a greater or lesser degree according to the material

subjected

to

This

it.

condition

of

stretch

preliminary essential for the muscles in

all

was

the

exercises of

training performed by the Greeks/

Up

no study whatever has been


made of this essential condition, nor has any emphasis
been laid upon the fact that no precision of movement
can be acquired without it. Yet it is only when there
complete connection, through stretch, of all the
is
muscles with the centre of gravity, that any movement
to the present time

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-

and proportionate loss of combined


force; while the maintenance of this connection through
stretch, means a condition in which every muscle has
pendent

reactions,

Movement

In Professor Marey's book on

the following passages

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
.

a steam-engine, in which the elastic force of a gas is converted into work.


" Veterinary experts have made a special study of the energy lost by the
.

hoofs striking the ground when a horse


maintain that the flexor of the solitary
horse,

is

made

is

travelling at a rapid pace.

toe,

means of which

They

which constitutes the foot of a

to a great extent of elastic tissue.

a physical property by

It

possesses in consequence

more or less important part of the


to some extent returned in the form

energy lost in falling on the feet is


of energy.
" This subject deserves re-investigation.
It would be interesting to
discover whether tendons in man possess this valuable property to any
noticeable degree, and, if so, whether it is retained through life."
The theory contained in the following chapters may suggest an answer

vital

to Professor

22

Marey's query.

DEFINITION OF TENSION
been called upon to share

been linked with others which


in

work

in the

required, having

in their turn

come

directly

touch with the weight to be moved, or held

the case

may

be.

Tension, then,
with headquarters
centre of

is
;

a connecting of the farthest outposts

headquarters meaning in this case the

gravity, the

centre of

main weight.

the

This

maximum

linking together of every muscle produces the

power with the minimum of effort, resulting


ment all in one piece, as it were.

of

If

as

still,

in

move-

the connection of the muscles be not complete,

any part of the body

is

slack,

it

means

weight to be carried, and just by so

movement will the rhythm be


means strain and fatigue owing

just so

much dead

much drag upon

dislocated.
to

the

if

the

Dislocation

disturbance of

proportion of the forces in activity.

Imagine a

sailing vessel in full sail with the foresail or

mizzen flapping against the mast

You

can't expect the

mainsail alone to carry the vessel along smoothly, with a

dead weight of canvas swinging her out of

stride.

But haul

and stretch every inch of canvas taut and tense,


and then see the rhythm and harmony that wake into life
in the ropes,

The modern human being has lost sight


that the skeleton was not made to support,

of the fact

alone, the

whole weight of the body, but to facilitate exactitude of


movement by its system of leverage. The muscles are the
principal weight-carriers, and able, when in a perfect
condition of tension, so to disperse the weight along their

constantly-moving cords of elasticity that no aggregate of


23

THE RENAISSANCE OF THE GREEK IDEAL


weight

is

ever

felt at

weight of fatigue
lack

tension

of

is

in

any one point, and therefore no dead


possible.

It

is

at the

waist that the

modern human being

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

spreading up and around the sides as the latissimus

dorsi.

These central muscles of the diaphragm, abdomen, and


back are practically powerless in the average modern
human being in the case of women, on account of
strongly-boned corsets which preclude all free movement
of this part of the body; and in the case of men, from a
general slackness, perhaps a reaction from an earlier period

The

of exaggerated stiffness.
in these

setthng

muscles

down

is

of the

result of chronic slackness

the crumpling-up of the waist and the

body

into the hips, very

much

like

an

an egg-cup. The constant pressure and dead weight


of all the upper part of the body on the hips puts the whole
strain on the hip muscles, which become exaggeratedly

egg

in

developed, while those of the

muscles on each side of

The most

it

abdomen and

the

cuirass

are practically non-existent.

noticeable result of the condition of tension

Greeks was the invariable slimness of hip, not only


This was due to the
in the men but in the women also.
proper development of the waist muscles and those of

in the

the back, which was sufficient to keep the upper part of


24

X
w
h
<

DEFINITION OF TENSION
the body lifted from the

movement

of an infinitely freer

was

sufficient to

keep the hips

The new-born
little

its

is

all

centred there.

of the hips.
fine

begins

infant

diaphragm, and

life

socket of the pelvis and allow

Later on,

itself

and slim/

life

movement

This in

with a very strong,

for the first


it

weeks of

discovers that

it

has

and as it grows older the discoveries extend to hands


and feet and finally fingers and toes, while the nervous
muscular centre of the diaphragm becomes forgotten by
the child and neglected in its later training.
But here, in
the very centre of what seems to be the softest part of the
limbs,

body,

hidden the dynamo of the magic current of

lies

tension,

which can be turned on

through muscles prepared to receive


force

and with

fire,

command

in fact, will-power

much to
mal-development come from
It

is

not too

the body, and

all

from the care of


intelligence

of

it,

transforming them into living, vibrating

cords, responsive to every

motion becomes,

and sent racing


flooding them with

at will

of

made

the will, so that


visible.

the

evils

of

the neglect of this part

of

assert

that

all

beauty and strength and perfect balance


it.

the

have pointed out that the increasing

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 RENAISSANCE OF THE GREEK IDEAL


development of

the

gradually

the

increasing

diaphragm
of

erectness

resulting

from the

With

carriage.

the

straightening of the spine, the expansion of the lungs, and


the lifted poise of the head, the diaphragm develops a

new

power, and becomes henceforth the generator of a different


order of activity, the centre of a perfected balance, and the

medium
It

of a higher control.

interesting to note

is

on

carried

America

criminals.

class

drag their

One

in

It

that experiments

in connection with the

being

walk of low-

has been found that they habitually

along the ground instead of raising them.

feet

of the experiments consists in

blocks of

are

wood

making them walk over

in the exercise-yard.

This has necessitated

and consequently a straighter


simple experiment has been found to

a greater effort of balance

back

and even

this

ameliorate very definitely the mental condition.

Looking

at

an ordinary class-room of boys or

men and women,

a lecture-room full of
strikes

one

is

prevalence

the

And

girls,

or

thing that
of the so-called " roundthe

first

none of them are really


It is a very difficult thing to change
round-shouldered.
the position of the shoulders. To bring them forward, and
keep them so for more than a moment, is extremely tiring,
and the modern human being is not keen on unnecessary
shouldered " position.

effort.

What one

yet

really sees in these lecture-rooms is not

round shoulders but slack diaphragms, a much greater

and the cause of


audiences

hour.
26

when

all

evil,

the fidgety unrest that takes hold of

obliged to

sit

still

for

more than

half

an

very simple experiment will prove the fallacy of

DEFINITION OF TENSION
the " round shoulder."

backed

If

one

sits in

an ordinary straight-

chair, at right angles to a mirror, in the so-called

round-shouldered way,

it

be noticed

will

while the

that,

shoulders themselves lean against the back of the chair, the


base of the spine will be several inches in front of it. Thus
the whole strain

once gives

falls

upon

way and

collapses in front

the small of the back,

outward,

curves

while

these curves

is

the

and curves inward, giving the

The

huddled-up, round-shouldered position.

produced by

which

at

waist

effect of a

reversal

of

sitting farther back, so that

the base of the spine touches the back of the chair.

This

pushes out the diaphragm in front, which movement places


the upper part of the body in a correctly-balanced position,

which, so long as the diaphragm remains firm, may be


maintained for long periods without the slightest effort, the
centre of gravity being exactly over
sitting

should

reduces to a

its

support, which in

be the base of the spine.

minimum

This position

the ache of a long day's motoring,

and the discomfort of lecture-room chairs, while it entirely


does away with all appearance of round shoulders. And
the alteration in appearance and comfort has been made by
the movement of the waist alone, by the raising and stretching of the diaphragm from its ordinary crumpled-up, contracted

condition.

involving as

it

definite effect

This

stretching

of

the

diaphragm,

does a straightening of the spine, has also a

upon

the

power

of concentrating the

mind

on any particular subject. Look at the poise of the seated


Buddhas in India, China, and Japan; note the vertical spine,
the perfect poise of the head, and the gracious attitude of
27

THE RENAISSANCE OF THE GREEK IDEAL


the shoulders.

They knew

sitting posture as

To
all

an aid to deep thought.

return, then, the preliminary essential condition for

perfectly-balanced

Henceforth,

body

the importance of the correct

will

this

movement

stretching

is

that

of

Tension of the whole

into

be termed the Preliminary Position, and

be clearly understood from the


apart from this condition

is

stretch.

full

first

it

must

any exercising

that

practically useless

balance and precision of movement are aimed

where

fine

at.

This preliminary stretching may appear quite an easy


performance, but in reality it is the most complicated of
all,

and when

this

becomes easy

of accomplishment,

difficulty of balance will have disappeared,

will have

clear road

all

and the student

before him, with the certainty of

being able to perform the most intricate changes of move-

ment with the

greatest ease.

Here, then, are the detailed instructions for obtaining


this

Preliminary Position:

Begin by placing the feet close together, so that the


heels and the whole of the inside Hne of the feet are
touching, the weight of the body well forward over the
Although the heels may just touch
ball of the foot.
the

ground, there must

be

arms should be drawn down

no weight on them.
to their full

sides,

with fingers pressed together but

Now,

lift

their

shoulders
full

28

length at the

fully

extended.

the chin (but without pushing the neck too far

back on the
the

The

and raise the head well up from


drawing the neck muscles up to
This movement is followed by the

spine),

by

stretch.

DEFINITION OF TENSION
pulling up of the waist muscles with a simultaneous down-

ward

arms to prevent hunching up the


Great care must be taken not to contract the

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

Tension must be done

with the

free

all

in

movement

muscles into

such a way as not to interfere


lungs

the

of

up of the waist muscles really


up of the body away from the legs, as
make the counter stretch downwards.
pulling

On

when completely
place,

it

is

the average

or joints.

constitutes a

When

any

invariably at the waist,

is

of the

whole body

loss of balance takes

and the appearance of

modern human being when making

effort at special balance

drawing

movement

perfect balance of the

tensed.

The

were, which should

it

the accurate performance of this

diaphragm depends the

this condition

the least

that of having a great deal too

much "top hamper," which

graphic expression best conveys

my

meaning.

said before

the

diaphragm is placed

Here, as

current of Tension the

It

is

the middle of

dynamo which sends out the


moment the muscles are stretched
the

enough to receive it. Here also lies


the immovable point from which
radiate.

in

interesting to

the centre of gravity,

movement should
notice that when this part of
control, movement in water
all

body is under perfect


becomes a thing of extraordinary beauty and ease, depending
as it does almost entirely on the muscles of the diaphragm
a little twist, a bend, a straightening of the waist, and

the

the rapid gliding turn of a fish

is

the result.
29

THE RENAISSANCE OF THE GREEK IDEAL


In walking, the complete immobility of the diaphragm
is

required owing to the fact that the support for the whole

body, during movement,


other hand, the weight

is

on the
distributed equally over the whole
is

the foot;

in the water,

surface of the body, and the centre of gravity

movement

radiate

in all directions,

free to

is

having no longer any

weight to be controlled on one point as base.

The
of
is

next

movement which

upward stretch
forcing downwards of the arms,
follows the

neck and waist, and the


the bracing of the knee muscles.

effected by a definite

movement

of

This should be

pushing the knee-cap

back as far as possible. This draws up the muscles directly


behind the knee to their full stretch from the heel. The foot
muscles are now the only ones remaining unstretched, and
this should be done by rising well up on to the ball of the
toes, so that the whole strain of the tensed body comes on
the spring underneath the instep, which should be raised
so as to form an acute angle with the ground.

On

this

acute angle spring the whole weight of the balancing body

when in complete Tension. The correctness


position when all these movements have been commay be tested by standing in profile before a mirror.

should play
of the

pleted
If

the balance

is

perfect,

it

will

be possible to draw an

from behind the ear, passing through the


shoulder, hip and the knee, and ending at the ball of

imaginary

line

the foot just behind the toes.

render the explanation

perfectly

photograph, the vertical

line test

will be

30

found that

it

Plate XII. will,


clear.

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

the full-waist stretch

method already explained too

for those

difficult.

The

who

cases a help

find the

is

in

and, after having stretched the waist as

to the sides, great care being taken not to

the waist

Plate XII. ^

XII. ^

is

many
much

by these means, the arms should be lowered to a

horizontal position, for an instant, and finally brought

of

of

effort of trying

something high above the head

to reach at

as possible

an alternative method

is

the

collapse

with

the

let

same

in profile,

the muscles

lowering of the

the completed position taken

and

is

down

full face,

arms.
Plate

the best for careful

study of detail.
After what

said about heels in the first chapter,

seems hardly necessary


ance of

all

to repeat that

An

during the perform-

exercises, either very thin-soled

should be worn, or no shoes


effort

it

dancing sandals

at all.

should be made,

when

in this Preliminary

on the toes, great care being


the body absolutely immobile,

Position, to rise several times

taken to keep the

rest of

may be in
movement being made by the

so that the rise and

the

fall

a strictly vertical line,

acute angle spring of

the instep.

31

CHAPTER
THE FUNDAMENTAL

HAVING
for

IV

PRINCIPLES OF

MOVEMENT

placed the body in the right condition

now

explain the

on which the movements

are based, a

definite

principle

exercise,

shall

principle so purely mathematical that

it

applies not only

what I shall term basic exercises, but


It will therefore be
movement, however simple.

to the special set of


to all

necessary, before giving a detailed explanation of these exercises, to

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

disconnected and sequential

different types of

results

with

call

general.

movement produce

both physically and psychologi-

sequential

movement alone

that

the

which follow are concerned but in order that the


point of contrast between the two may be defined, I shall
This
first explain what I mean by disconnected movement.
may be formed of a series of different positions with pauses
between them. The pauses need not necessarily disorganise
the series, but the fact of being able to stop between the
exercises

successive positions allows their performance to

become

when once they have been practised


Such moveand become easy of execution.

purely mechanical
separately

ments consist almost invariably of the flexion and extension


of the muscles of different parts of the body in turn, and
32

FUNDAMENTAL PRINCIPLES OF MOVEMENT


are

necessarily

position,

The check between each

very limited.

whether

for a long or short interval,

corresponding break

the attention, during

in

possible to think of other things.

movement which, with

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

any way the sequence

mencement from

is

destroyed and a recom-

is

beginning

the

this

If

necessitated.

is

It

is

impossible for sequential movement to become mechanical,

on account

the

of

needed to perform

unbroken

mind

to

extraordinary
a

continuity
pass

number

rapidly

type

of

of varied

movements with

concentration

that

from one point

to

unhesitating certainty, while yet retaining a

logical analogy of habit

sented by

by

all

all

that

obliges

the

another with
clear idea of

In these two types of move-

the sequence as a whole.

ment disconnected and

concentration

sequential

and

we

interest

may become

get

the

physio-

habit being repre-

mechanical, and interest

And

that involves thought-initiative.

in habit

and

found what Professor Baldwin so aptly describes


"
psychological poles, corresponding to the lowest
as the
interest are

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

THE RENAISSANCE OF THE GREEK IDEAL


which there must always be

the centre of gravity, without

through confHcting

a great waste of force

On

strains.

accurate balance, then, depends the

movement, expresses the

force which, in

giving

as

economy

of

greatest beauty,

does an appearance of ease and lightness

it

obtained by the equal distribution of weight over perfectlycentre of

tensed muscles, so that the


over

base.

its

its

difficulty arises

is

exactly

comparatively easy to keep the centre

It is

of gravity over

gravity

base

when

when

the body

The

stationary.

is

the weight begins to move, and the

base has to be constantly changed.

Take, for example, the simplest of

mentswalking.
one foot

The

to another

act

weight from

passing the

of

results as

sequential move-

all

an

rule in

effort to feel

forward for a new base before allowing the main weight of


the

body

to trust to

it,

leg at each corner, so to

that gives the impression of a

The way

speak.

movement

thus producing the jerky

to avoid this jerky

movement

in

walking

whole weight forward at the same time as


the advancing foot, which can only be done if the whole
is

to carry the

body

is

described.
the

ideal

in

the

condition

The law
poise

of

of rhythmical

requires that

the

moving weight should be kept


Hence the enormous importance
the

care

elastic

tension

movement which

constant

the pace at which the ground


34

over

base.

its

of a reliable base

observance of this law reduces to about


it

gives

centre of gravity of a

and

feet.

The

half, the

effort

required to avoid distortion of the

necessary in walking, while

already

increases to nearly double,


is

covered.

This accelera-

FUNDAMENTAL PRINCIPLES OF MOVEMENT


under conditions of perfect balance, forms the strong

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

Disconnection, therefore, expresses the Finite

opposite.
thing.

means angles

and resistance involves

and

between sequential

contrast

of

can

Continuity

be

only

movement, by being

Sequential

by

expressed
circular,

extraordinary acceleration by reason of

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

only be performed in the condition of complete Tension


already described.
the

This,

together of

linking

The more complete


becomes the
although

all

will

be remembered, involves

muscles

the

effort, so that the highest

of

the

most

muscles,

the

all

at

full

this linking together, the

representing

movement

it

is

stretch.

less visible

degree of Tension,

complicated

vibratory

the only condition in

The fact of
can be maintained.
having reached the climax of the combination of many

which perfect

stillness

positives results in the stillness of apparent negation; as, for

example, the vibratory combination of

produces

light,

which

is

many coloured

rays

colourless.

In connection with this idea of movement becoming


invisible

balanced

when

it

effort,

is

combined and perfectlyEdouard Rod once wrote a

the result of

the

late

35

THE RENAISSANCE OF THE GREEK IDEAL


description in the Figaro of the

Temple

of

Neptune

Paestum, in which he expresses very beautifully

in

at
its

movement becoming
combined and perfectly-

application to architecture the idea of

when

invisible

balanced
**

trds

mfeme pour
grace, qui

fort,

mais d'une force assez sQre

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

force amincie, encore plus acquise et plus

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

and expansion on a reliable base.^


When once these principles are

may be

they
to

applied,

ment

of

life,

with

complete order of
a

new power

understood,

not only to definite exercises, but

sports, as also to

all

clearly

the unconscious everyday move-

the

certainty

activity,

of

finding

more

stronger current of force,

of control.

and systematising different series of


sequential movements which shall be perfectly natural,
one turns instinctively to those needed in imaginary
attack and defence, not only on account of the great
In

selecting

variety of these positions, but because of the rapidity with

which they must be performed.


1

omy

Michael Angelo maintained


is

essential.

36

that, to

The

origin, then, of all

an architect, a knowledge of anat-

FUNDAMENTAL PRINCIPLES OF MOVEMENT


physical

training

war.

is

Among

primitive

peoples,

was necessary to be always on guard against sudden


attacks.
For this reason, during times of peace, they
practised at first a sort of mimic war, which gradually
developed into a sport. The Greeks ascribed the invention
it

wrestling

of

to

mythical persons such as Palaestra, the

daughter of Hermes, and to Theseus


of

having been the

first

to

is

given the honour

reduce the sport to a game,

with well-defined rules, and thus to have


wrestling

whereas before

most brutal fighting,

in

his

time

it

made an

consisted

art of

of

the

which the strength and weight

of the adversary alone decided the victory.

In the mimic battles of the Spartans, they frequently


lost

eyes

and

ears,

which tortures they accepted

as the

necessary sacrifice in return for the indomitable fortitude

which they acquired.


At a later date, the system adopted by the Athenians
had for aim beauty of form and line, and grace of movement, and no competitor was awarded a prize unless his
performance had been gracefully as well as effectively
Contest by wrestling was divided into two
achieved.
branches by the ancient Greeks. The first was the " Pale
Orthe," the upright wrestling. The second was called
" Halendesis " or " Kylisis," in which the athlete wrestled
The "Pale Orthe"
with his adversary on the ground.
was the only kind of wrestling practised in Homeric times,
and

The

also later

rules

on

in the National

provided that on the

Games
fall

of

of the Greeks.

an athlete

his

adversary should allow him to rise and resume the contest


37

THE RENAISSANCE OF THE GREEK IDEAL


if

he wished, but

he

if

three times, the victory

fell

was

There were also prepara" Analeinemata," exercises which

decided in favour of the other.


exercises

tory

called

were looked upon as of the greatest importance, since


through them alone could the athlete acquire that tense
elasticity of muscle necessary for the extreme rapidity
required in actual wrestling.
then, natural

to

suppose that the preparatory

movements represented

as

nearly as

It

is,

possible

the

actual

positions taken in wrestling, so that by continued practice

the pupil might arrive at the unhesitating certainty and

precision needed in the varied changes of position of real


contest.

Antique Art gives many examples of this extraordinarily


It appeared many
rapid form of wrestHng by tripping.
centuries later among the Chinese, brought back probably
through their intercourse with the Persians.

The form

of wrestling called Jujutsu, practised by the Japanese of

the present day, is, I am convinced, a survival of the


" Pale Orthe " of the Greeks.
The collection of tracings

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.

given standing or kneeling, but the

more

disastrous to the victim.


38

show

the

close

throws used
1,

especially,

Koshinage shoulder throw,

drops

book

Krause's

is

which

in

having

after

in

hoisted

This throw can be


latter position is

No. 2

is

much

obviously the

^FUNDAMENTAL PRINCIPLES OF MOVEMENT


Koshinage hip-throw, as used in Jujutsu at the present
day, and No. 4 has a very close resemblance to the
Japanese " Shimoku," the position of the attacker's left

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

" Pale Orthe " was introduced into Japan by a China-

man

about the third or fourth century, under the name of

" Jujutsu," and rem.ained a jealously-guarded secret

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

THE RENAISSANCE OF THE GREEK IDEAL


liking of the Chinese for

all

that represents the grotesque

movement, they neglected, and eventually completely


lost, all the grace and beauty esteemed by the Greeks
as indispensable, and retained only the dramatic and
in

practical

among

which,

of

sides

wrestling,

the

genuine

self-defence,

the Greeks, was subordinated to beauty.

upon the preparatory movements that I


place such immense importance, and it was during the
It

is,

study of

then,

all

the rapid changes of position in this " Pale

Orthe," which demand such exquisite balance, that


myself

for

the

Law

of

Balance

in

found

movement,

the

application of which allows of the greatest rapidity and


force
as

body

with the

least

expenditure of energy.

This law,

have said, requires the centre of gravity of a moving

and continuously over its base,


an impossible achievement except under the condition
of Tension already described.
to be kept

40

exactly

CHAPTER

V^

THE APPLICATION OF MATHEMATICS TO


HUMAN MOVEMENT

IN

spoke of the different movements


of the exercises as being necessarily related to one
the

last

another,

chapter

bound by

certain

laws which allow of no

arbitrary change.

Movement which
metrical,

bound by law becomes geoand geometrical law makes it impossible to vary


is

the formation of a curve beyond the limits of difference in


size according as the relation

pivot

is

between the curve and

its

altered.

The

combined curves produced


human limbs in space is the same as

centre of gravity of the

by the movements of

each individual curve, for the reason that the


connection of each limb takes place at the same spot,

that

for

viz.,

the

centre

of

which passes the


is

gravity of

the

axis of balance.

main weight through

When

this vertical axis

form the varying radii


and the law which governs the mass

in perfect equilibrium the limbs

of a

common

axis,

governs each part

therefore the centre of gravity of

the

combined mass of curves is the same as for each individual


curve, and is found in the vertical axis through the pivot.
As long as this remains stable, the curves described by the
would

beforehand what
have never been taught mathematics. It is
written for the average reader, for whom I hope it will present no difficulty
^

In connection with this chapter,

like to state

will doubtless be apparent, that I

or ambiguity.

41

THE RENAISSANCE OF THE GREEK IDEAL


moving limbs

are

true,

geometrical analysis.

which

to

is

and
be one whose

in length,

its

it

is

centre.

The

proportional sequence

radii of a circle are equal

a true curve.

radii vary in length

false curve, to

submit to

they

say,

conceive a true curve to be one

projected in regular and

is

with relation to

that

true curve

may

also

with regular sequence.

me, would be one whose

radii

have been

would

like to use

subjected to irregular variation.

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

which the object turns, so in the case of the


human being we will assume that it is the vertical line
already mentioned from the centre of gravity of the main
weight both upwards and downwards to its base, which
pivot about

constitutes

latter

the

pivot,

viz.,

weight contact on the horizontal plane.

only

the
I

point

of

specially use the

word "weight-contact," because, although curves formed


by the changes of movement of a human being come into
occasional contact with the ground, there

when any

of the weight

is

no moment

suspended over the pivot

is

trans-

moving limb, which merely touches the


ground from time to time to mark the points of angles
formed in the course of changing direction.
The position of the pivot itself can be altered from
ferred

to

the

time to time, thus varying the direction of the curves, but


this

variation of direction in

42

no way

falsifies

the curves

MATHEMATICS AND HUMAN MOVEMENT


themselves, which are dependent only on their axis.

when
that

the axis

itself vacillates

to say,

is

when

Only

do the curves become untrue;

has lost tense connection with

it

curve-making limb through the

strain

its

necessitated by the

maintenance of balance under a false equilibrium.


Given this connection under inalterable conditions, the
pivot itself may describe continuous and independent
curves

simultaneously

with

the

moving

arm and

still

govern those arm curves, provided the connection between


the two is allowed freedom of movement.

Some

intensely

this subject a

who

interesting

discoveries

were made

few years ago by Colonel Hippisley, R.

in
E.,

Royal Society in 1904, at which


he showed numerous complicated designs illustrating the
gave a lecture

unexpected figures produced by a moving

extraordinary

arm whose

at the

pivot

was

itself

travelling

round an

ellipse

continuously.^

He

constructed an instrument in which

one

small

wheel was fixed to a horizontal bar, which at one end


held the point or pivot which was made to describe an

The movement of the


continuous, and the movement
ellipse.

vertical

of

the

pivot

point was

following

wheel

end of the bar was free as far as lateral play on its


guiding pivot was concerned; but according as the bar

at the

was lengthened or shortened, so did the curves of


the following wheel vary, and the designs formed become
itself

more
*

or less complicated.
I

am

indebted to Colonel Hippisley for the privilege of being allowed


first time three of his designs.

to reproduce for the

43

THE RENAISSANCE OF THE GREEK IDEAL


Colonel Hippisley eventually discovered a certain

ratio

which produced curves


that ultimately repeated themselves over exactly the same
lines, so that they became changeless and endless.
between the wheel and

The

variation of a hair's breadth in the length of the

produced

bar

pivot

its

completely

different

curves;

and

in

all

designs except this particular one of the repeating curves,


the wheel eventually ran out of the figure altogether.

Colonel

Hippisley

most kindly allowed

has

reproduce three of these geometrical figures.

me

to

Plate XIII.

shows the one in which the curves become changeless


and endless. Plates XIV. and XV. show the result of
alterations in the length of the bar, where the following
wheel, after numerous complicated gyrations forced upon
it by the track of the guiding pivot round the ellipse, runs
out of the figure at a tangent.
of the

problems which

his

own

As regards

the

solution

genius has discovered, he

says that mathematical difficulties prevented the complete


analysis of the curves

And
in a

from being

so these wonderful

and

set out.

exquisite designs

remain

drawer for some future Euclid to elucidate.

There

seems some
service

in

possibility

astronomical

that

the elucidation might be of

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.

Curves which ultimately become changeless and

endless.

45

PLATE

jg

Diagram showing

XIV.

lines of entrance

and

exit.

PLATE XV.

complicated puzzle.

47

THE RENAISSANCE OF THE GREEK IDEAL


of Colonel
pivot.

It

Hippisley's

will

instrument from

may be wondered why

discovery of Colonel

own

little

Colonel Hippisley himself writes to


" So far as

curve does

not

does in yours.
to

assert

am

mention

role

this

you

in

star,

the

my

subject.

as follows

the

theory,

as

it

you should be led


your book.
If you

my

was the
the nearer the follower was to its

interested

more

in

lest

in

psychological fact that

guiding

any

some such connection

remember, what

opinion

aware, the centre of gravity of the

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,

which is a little parable from Nature. Or, rather, a parable


from a much dryer subject, to wit. Mathematics."
In connection with the last paragraph, I would class
all
parables from Nature as one with those found in
mathematics, since all Nature's laws are based on the same
principles, and all her different manifestations are merely
varying expressions of these same fundamental laws.
If
I
say that the force which governs my geometrical
movements is that which makes the trees grow upwards,
and which holds the stars in the firmament, I shall be
accused of

talking

nonsense.

It

is,

nevertheless,

true

making the statement to start with, I am


endeavouring to show that by placing the human being in
a condition whereby he is brought into stride, as it were,
with the universal law of rhythm and harmony, through
equilibrium, he is enabled through his finer and more
only, instead of

48

MATHEMATICS AND HUMAN MOVEMENT


development (which comes as a natural
of obedience to essential law) to come into direct

sensitive physical
result

connection with
reactions

while

at

force

and share

itself,

in far-reaching

which find no limit in the physical world;


the same time the physical expression of this

force

vital

vital

is

made

through movement, which

visible

is

demonstrate the immediate relation between the


two, and which, so far as I have been able to prove,
able

to

operates solely in the vertical plane.


All

by

movement, then, which

mathematical

and

related

sarily

The

law.

difference

changes

arbitrary

is

bound

between

neces-

geometrical,

is

of

movement

is,

and interdependent, while


the second are the expression of an individual will,
subjected to alteration at random.
The two types of
movement may be compared in the case of arbitrary
change to freehand drawing, while that bound by
that

the

are

first

mathematical

inevitable

law

represents

geometry,

which,

when

repeated time after time, under the same conditions, shows


barely a hair's breadth of variation.
that

changes may

arbitrary

interesting, but

not

be

do not wish
both

to imply

pleasing

only that as curves they cannot

and

be true,

performed as they must be without a controlling principle.


In the extraordinary precision of law-governed movement
lies

its

beauty

elaboration.

so

defined

clear-cut

in

its

economy, not only

Com.plexity there
that

the

perfection,

mind
free

is

from

may

be,

of force but of

but of an order

able to visualise design in


all

that

is

superfluous or

inessential.

49

;:

THE RENAISSANCE OF THE GREEK IDEAL


This

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

Physical force, as generally recognisable, seems held

which

becomes visible is the


energising will which enforces the calm certainty of every
detail.
The whole value of geometrical design as represented by the movement of these basic exercises lies in the
in

abeyance,

proof

it

while

that

affords of the truth of the fundamental principle

They

which governs them.

represent a highly complicated

system controlled by a single principle, yet capable of


manifold application.

My
each

first

attempt to render in design the movements of

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

were actually accurate as to design, they could only be


proved so by one who knew the movements as well as
myself.

and

it is

The

only definite proof then was photography,

once more to the

Institut

Marey,

to the

generous

help of Professor Richet, and to the untiring genius of

Mons. Lucien Bull


able to produce.
50

that I

owe

the proof

was eventually

MATHEMATICS AND HUMAN MOVEMENT


What

wanted was the effect of white Hnes on a black


ground, and how to get them was the problem. It was
I

eventually solved by taking photographs at night, with tiny


electric

bulbs attached to each

were made with

lights

movement

represent

the

movement

leg

the complete

movement when

which

is

latter

Not only
vertical

plane

only,

and some idea may be formed

plane,

this

line

two planes
lights were

designs there-

on the horizontal
of the intricacy of

that of the

arms

added,

almost invariably on the vertical

plane.

the camera being

my

prints

about thirty

head, rendered
or

distorted,

Two

on

is

above

either

merely.

all

The

attempts

as well as

in the

the curves so intricate that eventually

eliminated except those on each foot.


fore

first

on the arms and head,

the feet, but the complication of

made

The

foot.'

of

represented

each

negative

all

feet in

curves in that

as

straight

lines

given.

The

are

marked A, is the untouched print, as it comes from


the clichd, in which most of the curves are broken at
some point or other. This is due to the passing of the
foot so closely under the body that its light is obscured
first,

from above.
as

it
^

plane,

This was, of course, impossible

to avoid,

some

renders the definition of the design in


As no photographs of the kind have ever been taken
we were much puzzled as to what name to give the

cases

the horizontal
" procede."

in

experiments with " points brillants " in the


the method " La chronophotographie geometrique " or

Professor Marey,
vertical plane, calls

but

in

his

"La

procede des points brillants."


Bull, however, suggests what seems a more correct and
" Enregistrement optique "
or, in
simpler description of the method.
conveys a very clear idea of the particular
English, optical registration
photography, which gives geometrical proof of my theory, and therefore I
shall appropriate this definition for the special process we adopted.

Mons. Lucien

51

THE RENAISSANCE OF THE GREEK IDEAL


somewhat

difficult to follow for

everyone except myself,

have in each case shown a second print in which


have

curves

all

been completed, as also the straight

the

lines.

marked B. The curves represent the


dynamic action of the moving foot; the straight lines show
the alteration in direction of the pivot foot on which the
whole weight of the body is maintained. The white spots
indicate the pauses between two movements, where the toe
touches the ground for an instant, marking the accentuation
This second print

is

of the varying angles, but the curves themselves are, without

exception,

described in

graphic prints,

Besides

the

two photo-

have drawn a corrected geometrical version

one of the

of each

space.

series, for the

purpose of rendering the

design more clearly as pattern, and in giving the key to

movement

the

each design, the geometrical version

of

should be followed, as on these will be found the

little

arrows and lettering which indicate the movement of one

sequence of a

series,

and the comparison with the original

prints will render these perfectly clear.

version

of

manner

their

designs,

which

with

these

mystic

XVI.

This

prints

demonstrates

in

The
a

geometrical

very

striking

resemblance to some of the oldest


for

thousands of years have been associated

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.

In the actual photo-

detailed description of all the exercises will be found in a Supple-

at the

52

end of the book.

MATHEMATICS AND HUMAN MOVEMENT


graph of

A, it will be noticed that the


two large outer curves do not come back into each other's
orbit.
This was a fault in my movement which however
I

have

this design, Print

left,

than

faults

an

as

illustration

perfections.

its

often clearer through

is

you

If

will

turn

its

the

to

description of Exercise IV., you will probably see at once

what went wrong

movement

in the

of an otherwise very

fine curve.

In the outward swing of the moving leg, the foot

ground before

came

had been placed exactly under


the centre of gravity of the body.
Had it been brought
in a few inches farther before being placed as base, it would
the

to

have

made

a curve that

it

would have merged

of the other leg

movement when

on the opposite

side.

into the orbit

the exercise was repeated

have rectified

this in the

geomet-

showing the completed and corrected curve.


lecture in Paris where I showed these designs for

rical version,

At
the

time

first

sensation

in January

among

those of

1911, they created

my

some

little

audience interested in occult

science, as having a probable connection with those of the

Rosicrucian Mysteries, and also with other symbols of


older origin.

It

is

far

both interesting and curious that any

complete exercise should represent so exactly the ancient

symbol of

eternity, except

that

both the small thing and

the great thing are governed by the same principle, and


it

may be

that the infinitesimal

demonstrated by

human movement

is

one of the manifold

which I
The elaboration of design, conceived from human

applications

spoke.

example of what may be

of

the

fundamental

principles

of

S3

THE RENAISSANCE OF THE GREEK IDEAL


movement

perfect condition

in a

undoubtedly form a

which

in

tecture,

and expansion on

lift

harmonised movement

much

so

a firm base give

use the word

**

so that one

to the

lifts

expand in deep spontaneous

sight of them, while the lungs


I

used in archi-

Gothic arch the actual appearance of

to the curves of a

breaths.

for that

basis

reliable

equilibrium, would

of

harmonised " movement here,


;

harmony

representing originally a fastening, a key-stone.

Homer

in

Greek

original

its

used the word by

wedges and

aid of

harmonies

'

of

joins his twenty trees together to


sails

away from Calypso's

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

Finally, it is used in music


Order.
"
the
linked sweetness " of sound joining
in this sense that Homer uses " melody,"

represent

sound.'

"It

meanings.

different

its
*

meaning balanced

sense,

is

as representing duration of sound, regulated

by perfectly

balanced rhythm.

By reducing

whole

the

geometrical demonstration,

of

series

it

basic

has been possible to

equilibrium,

force,

principle

economy

is

the

result

of force

of

which

Control

expression

is

the direct result of a

over
;

these

the
are

expenditure

only

"

Makers of Hellas." E. E.

of

possible

condition of perfect balance.

54

prove

of

that

beauty in movement being the outcome of the

equilibrium.
reserve

and beauty

to

The combination

the truth of their underlying principle.


of

exercises

G., p.

103.

perfect
effort

under a

PLATE

XVI.

Copyright.]

Optical Registration of Exercise I\'

MATHEMATICS AND HUMAN MOVEMENT


Looking again at Plate XVI., it will be seen that
the two central curves are not vertical to each other
should

they

as

be

that

to

is

say,

upper

the

one

is

on the slant, although the curve itself is quite true. This


was the heel movement in the second exercise, viz., the
repetition, and it will be seen that on the return journey I
did

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

given on Plate XVII.,

the

faults

disappeared.

is

the

apparent

the

of

is

on

but,

easier to explain their

Later on,

many

correct.

is

series are the first

ones which have been taken, and


as

from a

judging

although the horizontal

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

from which the

on the
marked " heel

heel
is

is

toe of the right foot should be touching B.

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

THE RENAISSANCE OF THE GREEK IDEAL


the line of recovery of the
to

left

back

foot during the spring

an erect position close to the right foot, but had the

would not have shown.


As it is, it elucidates the movement admirably.
two repetitions of this
It will be remembered that
exercise are needed to form the design, as each one
completes a half-circle, and it will therefore be simpler to
reverse the diagram when following out the movement
of the repetition, which, it must be remembered, begins
been quite correct

curves

with a step back of the

Now

look

Exercise III.,

at

left foot.

the

shown on

organic are the curves

and

his

this

moons showing

little

constellation

Plate XVIII.,

they

formed

and B.

by

How

might be a chart of Jupiter

their separate orbits!

These curves are all archimedean in form, though the


whole constellation gives the impression of circles. And,
indeed, the group forms, with its outer curves and spots,
both a perfect circle and a perfect square, while an equally
perfect square and tiny circle are formed in the centre.
It will be noticed that there are four prints on this plate.
C and are two prints from a different negative, in which

one movement was eliminated for the purpose of leaving


the centre clear and thus affording a clearer definition of
the curves.

Refer
and,

This

now

will

be described

mind

the exercise

starting-point of both feet.

point

first

From

lunge of the

itself,

left

X with the whole weight upon


56

on Plate XIX.,

to the geometrical version

bearing in

represents the

later on.

to

Xm

foot,
it,

take

as the

the centre

which

stays at

and with well-bent

PLATE

XVII.

Copyright.]

Geometrical Version of Plate X\'I.

MATHEMATICS AND HUMAN MOVEMENT


important to remember as

knee, a

position

special

formation

the

of

curve of the right foot as

it

straightening

is

left

knee,

towards, and stopping


that the

upward

as,

in

its

rise of the left

body, turning

narrowing
it

sweeping

by arrows going

represented
point B.

at,

wide,

comes round on the gradually

have formed an arc of a circle

and

The

curves.

causes the

it

It

will

now be

seen

knee transforms what would


into an archimedean curve,

circle,

it

passes in front of the

into a right angle to the

first

position, the

comes to the ground at point B and the curve


finished.
is
The movement now becomes a backward
curve of the right foot, performed in exactly the same
manner as the first, and represented by arrows going
towards and stopping at point C. But this time the curve
is performed on a downward bend of the left knee, so that
the descending curve widens as it progresses, and finally
arrives at point C, where it forms the inward curve of the
next angle, and so on through the four repetitions.
The
four lines radiating from the centre show the lunge and
recovery of the left foot; forwards and backwards each
time as the exercise is repeated at the four angles, and
tip of the toe

it

will

be

noticed

denoting the pauses

at the

the

dots

are

culmination of each
of

the

placed

upward

repetitions.

are almost exactly mid-distance between each pair of

straight

which

lines.
is

of

The

little

of

circle

dots

in

the

centre,

complete except for the eighth dot, forms an

infinitesimal
ball

accurately

considering the complication

curve,

They

how

the

octagon,
left

foot,

outlined

which,

by the movement of the


to

each

right-angle
S7

turn

THE RENAISSANCE OF THE GREEK IDEAL


of

makes
and

body,

the

two

prints

with

the

recovery

two

The

movements.

acute-angle

are those of the

same

exercise, but

movement

out.

This

left

the whole exercise a series of curves

centre line, the base,

viz.,

the

on a

left foot,

makes

and falling
being immovable

rising

except for the acute-angle turn, as each sweeping curve of


the right leg brings the

body round

small octagon formed by these acute-angle turns

shown, however, in these two

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

needed to complete the

next photographs are those of a combination of

Exercises VIII. and IV. ,^ and


I

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

with the right


see p.

Plate

178.

foot

back

PLATE

XVIII.

Copyright']

Optical Registration of Exercise III.

PLATE

XIX.

Copyright.]

Geometrical \'crsion of Plate XV'III.

MATHEMATICS AND HUMAN MOVEMENT


These two movements give the initial steps of
Exercise VIII.
The combination comes on the upward
swing of the left leg, which, instead of returning to the

to

C.

right with a straightening


in the long curve
of

from

up

of the right knee, swings

D.

to

curve as X, as there

the

have marked the apex

no pause

is

back

at

point,

this

and the leg comes back immediately in the long curve


to D, while the right knee bends another two inches
lower, as the arms swing round to the right.
The recovery
is,

at

of course, to

D, by bringing

the right foot, which

point C, back to an erect position at

at a right

angle to the

first

of this exercise are given.

position.

The

D,

the

is

body facing

Three photographs
two prints,
and B,

first

two prints from the same negative, the one


6" is a print from
with corrected and completed curves.
are, as usual,

another negative, taken shortly after

is

shown here

purpose of illustrating the extraordinary precision

for the

with

A, and

which these movements are repeated.

noticed

how

infinitesimal are the differences

be

will

It

between the

and C, even the wavering in certain parts


of the curves being reproduced almost exactly, and were
I to give a dozen different negatives of the same exercise
they would show no more difference than these two.

two negatives

It

is

formed
by those which seem

interesting to note that a perfect circle

is

by the large outer curves as well as


The large outer
to radiate from the centre.

more

correctly

traced

in

print

of

this

circle
set.

is

The

geometrical drawing of this design makes a very good key


to

its

solution.

It

must be remembered always

that
59

the

THE RENAISSANCE OF THE GREEK IDEAL


changing direction

straight lines indicate the

while the

direction

whether the

The

first

next

step

is

design

shows

much more com-

photograph, although a

shown on
is

arrows from point

backwards or forwards.

is

plicated design than

and

the

of

of the body,

the

Plate

last,

Exercise VIII. by

is

The

XXII.

itself,

greater intricacy of

caused by the repetition eight times of each

which ends at an acute angle, whereas the


combination of the two finished at a right angle. As the
sequence,

full
it

is

description of this exercise

only necessary to refer to

is

given in the Supplement,

its

geometrical counterpart

on Plate XXIII., in which the first sequence is traced


by arrows and lettering. What a beautiful design for a
rose window this exercise would make
The next design is that formed by Exercise VII., and
is
shown on Plate XXIV., an extremely simple little
I

pattern,

but one that

may be

frequently seen in antique

architecture.

must be remembered, in working out this design in


movement by aid of Plate XXV., that the start from
point
is made with the back to the centre, and that as
the left foot lunges backward, it is placed at an obtuse
angle to the start, which leaves the body itself at a right
It

angle to the

first

to trace the

movement

position.

of

Remembering

this,

it

is

easy

the right foot by the arrows.

Tested by the compass, the square formed by the points

ground will be found perfect.


are correct, and form perfect arcs of a

of contact with the

curves also

although they are not complete


60

half-circles, for the

The
circle,

reason

PLATE XX.

Copyright.]

{Different negative.)

Optical Registration of the Combination of Exercises \'I1I. and

I\'.

PLATE

XXI.

Geometrical \'ersion of Plate

XX.

PLATE

XXII.

Cofiyriglit.]

Optical Registration of Exercise VIII.

PLATE

XXIII.

Copyright.]

Geometrical Version of Exercise VIII.

MATHEMATICS AND HUMAN MOVEMENT


The

that the left foot occupies the centre.

obHged

therefore

to

make

right foot

curve at a Httle distance from

its

the pivot; but, as the centre of gravity remains here,

impossible for the foot to reach far enough to

complete

is

it

make

is

the

half-circle.

The design formed by Exercise V. as shown on


Plate XXVI. is, from the point of view of pattern, by
far the most beautiful.
Look at its geometrical rendering
on Plate XXVII. Another rose window, with its charming effect of a revolving
of

its

by reason of the outer points


Four prints of this design

star

eight scalene triangles.

are given, the result of two different negatives.

are in

all

respects the better negative,

the angles, together with

definition of

Prints

owing

A and

to the better

extraordinarily

its

formed by the two basic


good as that formed by the

perfect curves, while the octagon

points of

the triangle

extreme outside points.


with

all its

as

is

If

diagram

is

made

of this design,

and arcs completed,

points connected,

an extremely interesting and beautiful geometrical

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

have mastered the

by careful study with the photographs and Cinema

Any

attempt

to

work

them

out

from

the

geometrical designs would be worse than hopeless.

The knowledge

of angles

formed by movement, and

them by perfect curves, must come


experience, and that experience will be the

the power to connect

from actual

6i

THE RENAISSANCE OF THE GREEK IDEAL


result of

an increased

sense-activity

whose dynamic action

has been trained and developed in the understanding of


essential

But

principles.

equilibrium

is

fundamental law of

the

until

thoroughly understood and

principles are

its

easy of practice, the designs will be about as

much

use

towards acquiring a knowledge of balance as a geometrical

theorem would be without a compass with which


it

The

out.

sole value

proof

indisputable
the
their

principle

they

place

connection

upon them myself

afford

on which the

to

the

of

exercises are

may be with

the

work
is

correctness

of

What

based.

secret

the

symbols

of

would be extremely difficult, if not impossible,


to prove, as no authentic description of the ceremonies
through which the initiated had to pass has ever escaped
the rigid secrecy in which they were bound.
It would,
however, seem not unlikely that at these ceremonies of
initiation the novice would go through certain movements,
and it is possible that these movements were afterwards
represented by pattern, as being the best way to hide their
real meaning.
Just as, in the same way, the alchemists
had a sort of code of secret signs to indicate the process
by which the precious metals were mixed, together with
the exact quantities required, and other details known
But it is
only to themselves, and jealously guarded.
antiquity

has ever been realised that the

human

being, trained to the knowledge and practice of

perfect

doubtful whether

balance

in

it

movement,

may

himself

accurate mathematical instrument


of the law needed as a

62

means

to this

become

the

most

Otherwise a knowledge

end would have made

PLATE XXIV.

Copyright.]

^Different negative.)

Optical Registration of Exercise \II.

PLATE XXV.

Copyright.]

Geometrical Version of Plate

XXI\

MATHEMATICS AND HUMAN MOVEMENT


itself

apparent in

training

the

all

whereas

systems of

different

physical

appears in none, since the days of

it

the Greeks at their zenith.

The

diagram only, and


Exercise
chiefly

is

is

but as the most important curve takes place

II.,

in

shown as a geometrical
given on Plate XXVIII. It illustrates
designs

the

of

last

the

plane,

vertical

photograph

in

horizontal plane gives no adequate representation of

From

movement.

to

is

the

step

first

the

the

back with the

on with the long curve


to B.
That part of the curve from
X.o B which appears
to be a straight line is not really so, for, from the point of
contact on the square about half-way between
and B,
the curve is continued in the vertical plane in the manner
indicated by the dotted line from the right angle to B.
The pull round of the left arm at the moment of the
backward swing of the right leg is indicated by the
three-quarter circle C to D, which movement brings the
body round to a right angle, after which the exercise is
repeated.
When the exercise has become quite familiar, it
will be easy to follow this design in movement.
I have
given a diagram of this one, in spite of having no
left foot,

the right leg following

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

the triangle, the circle, the square,

in these

mention

it

curiously

been described

know nothing

translation

that,

forms

this for the

much

mystic value seems

simple reason that


63

this

is

THE RENAISSANCE OF THE GREEK IDEAL


the only design in which
will

all

these forms are combined.

be noticed that in almost

the arcs of actual

all

of the geometrical

drawings

movement have been rendered

by the addition of dotted

It

circles

This plan was adopted

lines.

for the clearer rendering of the design as pattern, the actual

movement being
But the dotted

sufficiently obvious in the thicker

lines

have only been added where

it

have been actually possible to render them in leg

ment, so that where they do not


that are

exist,

shown could be demonstrated

the point of view of pattern,

lines.

would
move-

only those curves

From

physically.

would, of course, be quite

it

easy to complete them, and thus complicate the design.

So
senting

far,

only experiments

the

movement

in

detail

in

photography repre-

have been those of the

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

Marey, and adding

some of his own in connection with human and animal


But nothing more complicated than what
movement.
was
Professor Pettigrew called "the figure of eight
brought to light. This " figure of eight " was formed by
'**

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.

would point out


already
64

that the designs

explained

represent

formed by the exercises

consciously-reasoned

move-

PLATE XXVI.

Copyright.

(Different negative.}

Optical Registration of Exercise V.

PLATE

XXVII.

Copyright.]

Geometrical \'ersion of Exercise V.

PLATE

XXVIII.

Copyright.

Geometrical Version of Exercise

II.

MATHEMATICS AND HUMAN MOVEMENT


ment

subject

law,

to

opposed

as

spontaneous movements of habit.


that

This does

As a
movement

spontaneous a

imply

not

may

unconscious spontaneous movements

governed by law.

and

unconscious

to

not also be

more unconscious and


the more graceful it becomes,
the

rule,
is,

and the graceful, beautiful thing is the thing that is right


and true. But modern conditions make almost impossible
the free expression of the law which governs the unconsciously

the

herself
is

beautiful

rare

thing.

moment

It

she

is

is

true that Nature reasserts

allowed

her

any but primitive races

that

but

liberty,

show any

of

it

the

unconscious beauty of movement, and as soon as these


races

come

in

touch with

misguided progress rob them of

and

elasticity

law of balance

known

tread.

all

Under

able to assert

is

conditions,

all

physical

to,

if

is

to

their dignified bearing

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

or understood by the object expressing

modern

upon

of

the

civilisation,

adhered

rigidly

be given to the hideous inroads

development made by

heels, hobbles,

and

similar

For the modern human being, familiar with


Science, there will be no
all the latest developments of
difficulty in recognising as an axiom that only under the
atrocities.

control

of

fundamental law can freedom find

its

fullest

expression.

Do

you remember the description of Camilla, of the


Volscians, when she went out at the head of her regiment
to fight against Aeneas? "Therewith came Camilla, the
6S

THE RENAISSANCE OF THE GREEK IDEAL


Volscian,

with

train of cavalry,

virgin

battle

squadrons splendid

...

w^arrior

shock and outstrip

maiden hard to
the winds with racing
a

She might have flown across the topmost blades of

corn and
her

brass:

endure the
feet.

leading a

the tender ears unhurt as she ran, or sped

left

way over mid

sea

upborne by the swelling

dipt her swift feet in the water."

Where

is

the

flood, nor

modern Camilla whose

feet

can show the

spring and glory of a free and natural development?


^

66

The Aeneid

of Virgil.

J.

W.

Mackail.

CHAPTER

VI

THE INTERPRETATION OF SCULPTURE BY THE


LAWS OF BALANCE

THE

necessity for mathematical accuracy in physical

training,

on which

tance, does not imply that


this

all

On

must be obviously geometrical.

principle

contrary, the

immense impormovement based on

place such

more

accurate, the

movement becomes,

more

the

perfectly balanced,

the less visible will be the

means by

Only the most perfect mathematical


accuracy in training can produce the finest '' techne." This
applies to all the Arts, especially to painting, where the

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

disguised simplicity in the

work

of

form, which are responsible for the balanced harmony of


the whole effect, and which were minutely blocked out on
the canvases before even the lightest touch of the brush

was attempted.

when

of expression

came

afterwards,

and

definite in

the thing to be expressed was clear

form and accurate


In the case of
to the

Freedom

in perspective.

human movement,

the careful adherence

most accurate form of geometrical exercise

purpose of actual training allows of a

quent freedom of expression, when


general,

and dancing

it

far

for the

greater subse-

comes

to sports in

in particular.

67

THE RENAISSANCE OF THE GREEK IDEAL


The controlled human being is
With muscles trained to respond to

the free

human

being.

the finest variations of

balance, he can allow himself far greater liberty than one

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

they were not doing.


in

light

Take,

the Sala

placed the head of the Dis-

cobolus looking forward, with


strained,

the

in

example, the Discobolus of the Vatican

the neck muscles twisted

had practised the throwing of the discus,

such a mistake would have been impossible.

been an

the

of

is

Although dogmatic assertions


no doubt dangerous, it is at any rate

many

della Biga.

and

in

really doing.

obvious in
of

balance

of

importance in the study

greatest

where

principle

athlete, the

Had

he

swing back of the discus arm would

have shown him the necessity of freeing the neck muscles

and consequent check,


on the forward swing of the arm. But it is impossible to
reconstruct the movement of a perfect Greek athlete,
unless one feels the thing he was doing unless one's own
muscles respond to the life and spring that the Greek
sculptors were able to chisel into their marble.

to their utmost to prevent strain,

How

is

it

possible to realise

all

mean

they

unless one

can go straightway and do likewise

The revelation of what Myron's Discobolus meant


movement was, I remember, a great joy the changes
;

68

in

of

SCULPTURE AND LAWS OF BALANCE


position from start to finish are so
particularly

that

of

the

finish,

varied

one or two,

quite as beautiful as the

central poise.

There were evidently several ways of throwing the


discus.
It might be done standing, in which case the

arm began

forward swing from well above the head;

its

whereas in taking the run forward the arm swings very


above

little

the

horizontal

before

descending

for

the

throw.

There

an example of the standing position in the

is

Uffizi Gallery at Florence,

supposed

to

be a copy of one

by Myron, but a very poor specimen in every way, and not


worth reproducing here.

The Archer

Aegina Pediment was, as I said in


the first chapter, the first statue that I brought back to
life;
and I shall never forget the joy and excitement of
the moment when I became Herakles
when I found
how quickly and silently he dropped into ambush with
of the

that

wonderful

poise

on

the

right

toes,

and,

without

movement, let fly his arrow.


With him I
sprang up to see whether I had got my man. Yes
There was a neat little round hole in the screen at the
far end of my room.
There were many more before I
had finished
exhilaration of the two perfectlythe
balanced movements, the drop and the upward spring,
was worth more to me than the screen.
another

The

statue

is

smiling

smile, for not very far off

correctly

little
is

proud, half-contemptuous

Paris,

also

shooting

and immaculately turned out, but with

07ie

69

very
knee

THE RENAISSANCE OF THE GREEK IDEAL


He

on the ground.

Herakles

couldn't balance

there with a

sits

his toes, as other

men

am

little

on

and so
poised on

his toes,

confident smile,

use their knees, and quite as firmly.

no one has ever


before given an explanation of the movement of this
His dress and helmet and
marvellous archer figure.
expression have all been carefully described^ but his
movement, his poise? Well, he was placed in the
narrowing angle of the Pediment, and it was necessary to
think

right in saying that

make him crouching

or he would not have fitted in!

After the Archer and the

my
In

next turned

Rome.

the Charioteer of the Capitol in

attention to
this case,

Discobolus,

both arms, and the whole of the

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

for the start of the race, and,

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

Greek would be described

in

is

leaping into his chariot; the

fully outstretched against the strain

taking what

XXIX.

of this statue, although the profile

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

position aura-t-on I'idde de se forcer a

raide ? "

tenir le

See " Histoire de la Sculpture grecque," p. 265. M. Colignon.


-From a letter. See also "Die griechische Plaslik," pp. 109,
^

Loewy.

70

iio.

PLATE XXIX.

Photo Alinari.]

The

Charioteer of the Capitol, Rome.

SCULPTURE AND LAWS OF BALANCE


" idea " would only occur to one whose muscles

The
were

condition

perfect

in

way

taught him the best

to

one whose training had

to carry a well-balanced

body on

what the charioteer


did know, and that is why he looks so calm and confident,
as though he were doing nothing at all.
Out in the grounds of the Institut Marey I tried the
" leap that is flying," while the cinematograph kept its eye
but that

springs;

reliable

exactly

is

upon me to register what happened to my back. No


chariot was there, but we turned a large case upside down,
and a good deal higher it must have been than an ordinary
chariot, although the charioteer had a high one too,
or his right thigh would not have been horizontal.
On Cinema Series No. 4 is an enlargement of two
giving the identical
that marked
of the positions
B was
position of the torso and leg of the Charioteer.

such

poise

fine

detail

than

series

forms,

careful

possible

is

thought

one

it

deserved

smaller

the

in

think,

demonstrations

that

movement one could

of

examination

will

it

be

interesting

and on

find,

noticed

This

prints.

most

the

of

clearer

that

spine

the

The fact that there were


made the balance needed for

remains vertical throughout.

no

to

hold

the leap far

more

reins

on

to

difficult,

were more than up

to

on

toes

the rise

to

the

but the

their

of

springs of the feet

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

surely that was hardly necessary ?


71

toes,

THE RENAISSANCE OF THE GREEK IDEAL


That

two reasons firstly,


to illustrate that the whole movement is performed by the
foot and knee, more especially the foot
and secondly,
as an example of what comes quite naturally into the
is

quite true, but

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

same way, out of sheer joy in the


had that poise been shown in sculpture,
in the

would probably have been

criticised as a preposterous

"idea."
Professor Loewy,
stration of the

who saw me

movement

in

demonRome, was kind enough to


give an actual

say that he thought the reconstruction of the leap of the

Charioteer "very beautiful," but thought it could hardly


be called " natural," for the simple reason that no one

but myself would trouble to keep the back straight when


" mounting a chair or any other object of the same height."
I

acknowledged

that the

movement performed under

a condition of perfect balance was not habitual, and would

probably be impossible for nearly everyone


for this lies in the fact that the

wandered so
that he

is

far

from the thing

,*

but the reason

modern human being has


that

is

finest in

Nature,

unable to realise that the habitual movements

which are wwnatural.


And now, what are, to me, the two most interesting
positions of the whole series, are shown as enlargements
on the second page of Cinema Series No. 4.
They are interesting from the point of view of having
been absolutely unconscious, for in the last one of all I
are really those

72

CINEMA

SERIES, No.

4.

Copyiighl.]

Movement

ot the

Leap of the Charioteer.

CINEMA

SERIES, No.

4.

(continued).

Copyright.l

Continuation

ot"

the

Movement

of the Leap, showing Descent from the Chariot.

SCULPTURE AND LAWS OF BALANCE


was unaware

of being

When

still

under the eye of the cinemato-

saw the whole series shown on the screen


at the Institut Marey, I was pleased to find the relative
positions of the spine and the bending springs had been
graph.

Then, one day,

maintained throughout.

Louvre,

the

at

while hunting about for odd pieces of sculpture represent-

ing movement,

came

across the identical position of

my

descent from the case in a glorious bit of frieze representing


the Apotheosis of Herakles, found at Delphi,

Plate

shown on

XXX.

The

chariot

there waiting to convey

is

Herakles to

Olympus, and Pallas Athena is alighting from it, with the


straight back and the extreme bend of knee and foot
which indicate the possession of perfect springs. Compare
of Cinema Series No. 4, and the striking
her with figure

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

sculpture, for the

not occurred

to,

or not been

possible for, the critic to test the truth of the explanation

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.

In a detailed and very fine general description of the


statue.

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

purpose of widening the base.


is

studied carefully,

it

will

be seen
73

THE RENAISSANCE OF THE GREEK IDEAL


the whole weight of

that

The

right foot.

and the

left

body

the

forward over the

is

right foot, therefore, constitutes the base,

has

nothing to do with

touching the ground with the

toes,

it

and

is

merely

which have absolutely

no weight over them.


Why, then, is the foot turned
outwards when, if another lunge is made, it in turn will
be

brought

ground

as

forward and

straight as the

upon
now stands ? For

presumably placed
right

momentary one,

the
this

what has been a


furious rush forward.
There are attacks to be parried on
every side, and the shield arm is raised, while the sword
arm is ready for the counter thrust.
It might be Hector
cutting his way through the raging battle around him in
the effort to rescue the body of Sarpedon
reason, the pause

is

in

"

And

in rushed Hector, fierce and grim as any stormy night,


His brass arms round about his breast, reflected terrible Hght
None but the Gods might check his way, his eyes were furnaces
.

Every muscle
are

in the

bound together

position

of

preserving

the

the

for

is

connection
a

body is in the utmost tension, all


one connected spring, and the

foot

left

tense

extra weight of

as

the

at

disconnected

purpose of

sole

left

hip,

so that

no

limb should overbalance

on the right foot. Note the


hollow formed by the tense muscle where the thigh bone
is turned right back into the socket of the hip.
the

body, poised as

The

it

is

secret of the out-turned foot lies

there, for

it

is

only by turning out the foot of that tense, vibrating leg


that

it

can be held locked

in the

hip, part of the

one with the whole weight of the body.


74

If,

when

spine,

the leg

X
X
X
w
<
Ph

SCULPTURE AND LAWS OF BALANCE


and locked, the foot is lifted from the ground, it
will be found that the movement in no way affects the
poise
but if, on the contrary, the toes are turned in
is

tense

towards the front, the balance will collapse


the

ground
It

and any attempt

side,

left

to

once over

at

the foot clear of the

lift

will prove impossible.

quite

is

easy to

this

test

by taking as nearly as

possible the position of the warrior, keeping the weight


entirely over the

tense

Now,

possible.

as

and holding the

right foot,

turning

try

the

left

leg as
toes

left

in

towards the front, and follow carefully what happens to


the leg at

the hip.

immediately becomes unlocked,

It

and

as a result the extra

the

left

in a

way

that

weight drags the body

makes

impossible

it

balance an instant, especially

if

the extra weight of

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,

in the right or the test will not be

accurate.

There are so many examples of this position in antique


sculpture that it seems strange that the reason for the
invariable position of the

given before.
figure

of

the

One

left

the

of

Fighting

foot should

finest

is

Theseus,

not have been

that of

at

the

Nationale in Paris, a photograph of which

XXXI."

Plate
foot

is

is

this case,

it

will

bronze

Bibliotheque
is

given on

be seen that the

left

barely touching the ground, and the whole poise

beautifully
foot

In

the

accurate

turned

in,

on the

that

is

to

right foot.
say,

when

When

this

is

left

the toes, bent or


75

THE RENAISSANCE OF THE GREEK IDEAL


are in line with

otherwise,

the

body becomes divided between the


this happens in a lunging position,
under a strain almost impossible to
come to the ground as base for
whereas,

the

if

knee bent
quite

left

be

easily

kept

off

very finely demonstrated

feet,

even

out,

in

the

with

the

body can

the

ground.

the

the

This

fact

is

marble statue

beautiful

Myron, which is in the Terme Museum


Rome, and is known as the Youth of Subiaco, shown

ascribed
in

turned

is

of

and when
the left knee bends
bear, and must soon
the whole weight
two

utmost, the weight of

the

to

foot

the weight

heel,

on

to

XXXII/

Plate

the position

is

represent

in

from

receives

that of exhaustion, collapse, as

were making a

from above,

The impression one

though he

desperate defence against an attack

last

which case he

is

Ganymede defending

most probably meant

to

himself against the eagle.

The base is obviously the left knee, which in another


moment will be on the ground. An interesting fact to be
noticed

is,

had the position been intended to represent


than collapse, the left foot would have been

that

anything else

placed lying over on the inside line with the ankle on the

ground, for in

this

position the knee

is

locked into

its

hold and the side muscles then form so strong a spring


that the weight of the

ease

on

position

to either
is

body can be transferred with equal

one foot or the other.

represented on Plate

XXXII. ^,

This alternative
in

which

it

will

be seen that the poise gives no impression of exhaustion,


but

rather

that

of

spring

held in abeyance, and the

change has been made by the position of the


76

left

foot

X
X
X
w
<

SCULPTURE AND LAWS OF BALANCE


Compare

two lines from the left shoulder to


the left foot in the photograph of the statue and that of
myself.
In my own it is unbroken, and the eye travels
unchecked from one to the other. But take that of the
statue, and it will be found that the eye is forced to stop

alone.

the

at

knee,

the

relieved to see the


fact that

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

not supposed to be there, being merely a

is

it

whole drag

the

of this difference in line

produces

it

is

but this one detail

due to the angle


means everything

to the balance of the body.

The

very much,

shown on
to

was the wounded Amazon of the Vatican,

Plate

whether she

an opinion

is

XXXIIL

The

shoulders.

her arms

have

there

was

right

arm was

back

is

very beautiful;

but as

would not venture

or even as to whether she has been given the

abrupt

the

She

a true Pheidias or not,

right head, although this

from

me

next statue, the position of which interested

should think doubtful, judging

angle

at

interest for

which

me

lies

been restored, for

sufficient indication to
raised.

It

has

from the
in the way in which
both were lost; but
it

make

springs

it

obvious that the

been restored bent right

in a horizontal line across the top of her head,

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

the position should be impossible

that

no reason appears when studying her from the


77

is

to

front,

THE RENAISSANCE OF THE GREEK IDEAL


and

seems

this

be the only point of view taken into

to

consideration by her restorer.

By

good

great

fortune,

had the opportunity recently

of studying a cast of this statue, with permission to perform

upon her any

surgical operation

pleased, so

promptly

cut off her arms to the line of the original break, and she

stood revealed for there

XXXIV.^ shows my

Plate

restoration.

nothing so baffling as a wrong

is

position.

The work

criticised,

it

Looking at
the same point

is

as

wished

an

two photographs, both taken from


of view, one sees nothing to justify my

these

makes

instant.

angles

other

this, the

to represent them.'

assertion that the position of the right

for

her

of

of restoration must, of course, not be

purely amateur, but, in spite of

is

position of the arms

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

apparent, that nothing but the great weight of the base


(extraneous

toppling
quarter

to

over.

view

the

figure)

keep the statue from

This can already be seen from a threeof

the

XXXIV. ^ shows

Plate

could

left

side

this position,

of

the

where,

if

statue,

and

a vertical line

drawn from the centre of gravity just under the right


breast, it will reach the ground about two inches in front
of the base of the cast, and about five or six inches in
front of the right foot, on which, it can be seen at a
There is absolutely
glance, she is leaning very heavily.
is

The photographs

for the

first

78

time here.

of the altered cast were taken by myself and appear

X
X
X

PLATE

XXXIII.

Photo Alinari.]
Tlic

Amazon

of the Vatican.

SCULPTURE AND LAWS OF BALANCE


no weight on
it is

the

foot

left

she

obviously wounded, and

lance, for she

Now

look

at Plate

arm

uncomfortable
weight.

made

it

XXXIV.*^, and
well

as
to

is

looked

be

to

picture her leaning

much

of repute,

on

her

the

as

look

lance,

at

less

from the

and see how

an overbalancing

such

at

blocking out the

try

believe the usual contention

she can, for

all

it

in pain.

is

right

restored

saving

is

is

front,

that statues

were

but no sculptor

Pheidias himself, would have com-

mitted the crime of placing her in an untenable position,

would not be noticed from the


front; and surely the profile shown on Plate XXXI V.^ is
sufficient proof that she must have had a support of some
kind, for she could not possibly have stood where she was
for

for

reason

the

that

it

an instant without one.

believe

Pheidias never added accessories

been necessary

for

him

but

actually to

it

it

asserted that

is

would not have

add the

lance.

people so familiar as the Greeks with the laws of balance,

which they practised every day at the Palaestra, would


have grasped his meaning from the mere position of the

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

my own representation of the


Plates XXXV. and XXXVL, but unfor-

photographs of

position are

tunately

more impossible without support.

still

shown

my
the

lance was too short to enable

me

to give the

arm accurately, and it will be seen at


arm is more bent, and the shoulder lower.

right

once that the

But even

in

so,

it

was impossible

for

me

to hold the position

79

THE RENAISSANCE OF THE GREEK IDEAL


my

without leaning heavily on

who

lance, as everyone will find

cares to try the experiment for himself, taking care that

the line of the chest at the thorax

is

or eight inches

six

in front of the right foot.

The
meant
far

theory

to

that

nearly

all

antique

may be

be viewed from the front

when movements

of the

for the

carried too

body which might be ascribed

to quite other causes are explained as

by the sculptor

was

sculpture

having been chosen

purpose of representing as

much

two planes, irrespective of the anatomical


possibility of the position.
A typical example of what I
mean will be found in the Pallas Athena of the Aeginetan
Pediment, shown on Plate XXXVII. Her face and shoulders

as

possible of

are square to the

spectator, while

her

feet

are

turning

away to the left at considerably more than an acute angle,


and she stands with lifted spear and shield. Whoever
chiselled this splendid goddess of the strong brow and
far-seeing eyes cared little for the showing of her front

Look at the
the movement

view simply as front view.


they indicate, as always,

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,

plans for the protection of

overthrow of

their

already, she

in the

is

enemies.

dreaming,

her favourites

But her

feet

are

midst of her beloved Greeks,

and always with the calm


and reassuring smile that knows its own power. She is
facing round for an instant to give some advice or encouragement; the next moment may see her spear arm
inciting, encouraging,

80

leading,

X
X
X
w
<

PLATE XXXV.

Copyright.'^

Full \'ic\v Representation of the

Amazon.

PLATE XXXVI.

Copy'rigln.]

Profile of the

Representation of the Amazon.

SCULPTURE AND LAWS OF BALANCE


aloft,

her body

swung

to the other side, with the position

of her feet barely changed.

and goddesses of splendid build and


perfect aliveness needed no clumsy change of feet to
enable them to turn round and see what was happening
behind them. Those lithe tense bodies could twist as
they pleased. A goddess who could not command three

These gods

points

of

the

horizon without

having to turn her

feet

and as a sculptor's conception of


was no true goddess
a god or goddess was based on the movements of the
finest men and women around him, he must often have
seen examples of this movement.
;

Look,
Plate

too,

XXX.,

at

as

the

little

figure

from

dismounts

she

of

the

Athena

in

the

chariot

in

which Herakles is to be carried to Olympus. She serves


I have already drawn attention to
to illustrate two points.
now, look at the way
her beautiful little straight back
she is turning completely round from the waist, her right
;

hand

still

holding the

reins

perfectly

taut until

she

is

all the lower part of her body


on the ground
is stepping out from the back of the chariot, while her
head and shoulders are still facing the horses.
There are numerous other examples of this position in
vase-paintings, all of them vibrating with the full and
perfected activity that made these movements natural as

actually

well as habitual

and therefore

either painters or sculptors as

the representation of

the

new Hght

it is

men

two planes.

impossible to conceive

unable to get beyond

Look

of a far different activity

them now in
from that which
at

8i

THE RENAISSANCE OF THE GREEK IDEAL


is

movement

expressed by the

modern human being,

of a

and the two-plane theory disappears.


Three photographs are shown on Plates XXXVIII.,
XXXIX. and XL., in which the body has taken three
different positions without any movement of the feet
except

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

four points of the compass without

all

at

three

all.

should begin in the position

on Plate XXXIX., but with the head and

shoulders turned away, facing the direction of the right

command my

This would

arm.

am

eastern side, supposing

Then, of course, would follow


the turn of the whole body for the command of the
northern section.- For that of the western I should merely

facing

north.

turn the waist to the


parallel
I

line

should

lifting

with

turn

it

my

feet

farther

the left foot

on

my

bringing

left,

shoulders into a

while for the

still

to the

last

position

an obtuse angle by

into

extreme point of the

big

though without altering the direction of the foot in the


This lifting of the foot gives greater length to the
least.
muscles of the left side, and enables the waist to turn
easily into the obtuse angle, and thus command the whole
toe,

of the southern section.

During

all

these

movements of

the shoulders, the feet will have remained pointing to the

For perfectly-trained,
and I only cite it here

north.

elastic

easy,

as the

muscles, this

more

is

quite

likely reason for

the representation of a very favourite position in antique

sculpture.
82

PLATE XXXVII.

Photo Giraudon.]

The Athena

ot the

Acglnetan Pediment.

PLATE

XXXVIII.

Copynglit.]

Rcprcscinatlon ot a X'asc Painting

ot the

Athena.

PLATE XXXIX.

Copyright.]

complete

\'oltc

Face withoiu

litiing the Fi

PLATE

XL.

Copyrii;!/!.]

Anolhcr Change

ot'

Position uiih Kcct

still

unchanged.

SCULPTURE AND LAWS OF BALANCE


The
of the

last statue I

little

exquisite

have chosen to represent here

that

XLL, an
Naples Museum. Some

goddess Fortuna, shown on Plate

bronze statue in the

little

meant

archaeologists say she was

wings are

of the

parts

is

belong to the

statue,

and

left,

to

be flying and that

also that the globe does not

being of a

much

This

later period.

who, looking at her as she stands


serenely poised, can deny that the man who restored her
thus was inspired? Silent and immovable she stands, on a
is

possible,

all

yet,

bronze globe garlanded with spring flowers,

Drawn up on

the Earth.

she looks as though

to the

to represent

extreme point of her

toes,

hovering over the world, light as

thistledown, and yet, in her tense, vibrating immobility,

she

is

very essence of

the

controlled Will
rise

Force, an expression of the

Power which dominates, while

above things earthly.

tion of this statue as an

Plate

XLIL

example of pure

shown it in profile so that the position


more clearly seen, and also to prove
ball

them.

of

the

foot

my

reproduc-

poise.

of the feet

have

may

that the balance

maintained solely by the tremendous


the

is

yet able to

grip

of

the

be
is

toes,

being raised some distance above

forms also a good illustration

This photograph

of the possibility, under a special condition of Tension,


of
aid,

on a smooth
drawn up on to the

standing

sphere without any


first

phalanx of the

artificial

toes,

and

maintaining the position for nearly two minutes.

The remaining photographs


different positions in

They were

all

my

in

this

chapter illustrate

interpretation of a

Greek dance.

taken in actual movement, and are interesting


83

THE RENAISSANCE OF THE GREEK IDEAL


from the point of view of balance,

for the reason that the

from the centre of gravity to its base remains


The base is invariably the ball
every case unbroken.

vertical line

in

of either the right or

Plate XLIII.
position of

foot.

an almost identical reproduction of the

is

the Aphrodite in

Villa Item, in

dance on

left

which she

is

the painting found at

the

teaching the infant Dionysus

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

his little toes.

book,

with

for

Plate

this

chapter

is

ends

all

that

is

demonstrable by photograph or design.

Three aspects
have been studied
that

of a training in balance
:

that in relation to physical development,

connected with mathematics, and

applies to sculpture.
84

under Tension

There are

still

finally

that

which

two more phases to

PLATE

XLI.

I'lwto .lliiiaii.\

The Goddess

I'ortuna (Naples

Museum).

PLATE

XLII.

Copyright.]

Poise of the Forcuna in

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

Greek Dancing Boy.

PLATE

Copyri'jhl.

XLVI.

PLATE

Copyyighl.

XLVII.

SCULPTURE AND LAWS OF BALANCE


be examined,

but what

follows

can be

shown

by

no

photographs, proved by no designs.

So

far,

have dealt with actions, definite and

Henceforth reactions take their place,


as visible, but

more

on

a different plane,

visible.

just as definite, just

and

in the

end of

intrinsic value.

85

far

CHAPTER

VII

MENTAL REACTIONS
" The laws of moral nature answer

to those of matter as face to face


in a glass
" The axioms of physics translate the laws of ethics.
Thus: Reaction
is equal to action."
.

Emerson.

IN

the formulation of a
brain,
least

one

is

new

confronted with

among them being

language with which


quite clear to

its

theory, child of one's

it

many difficulties, not the

that of

making

intelligible the

has spoken at birth

parent, rendered so

necessity for actual utterance,

own

a language

by the absence of any

and above all for the reason


from its birth and become

one has lived with it


familiar with its every expression.

that

The theory enunciated

of five years* work,

result

proved,

many

only in

not

others.

drawn from

The
is

in the following chapters is the

not

relation

It

is

during which every step was

my own
offered

experience, but in that of

because

ideas, practice, experience

reflex action of physical

yet

it

a conviction-

is

and

realisation.

movement upon

generally recognised,

although

the brain

the admitted

between muscle and mind has been proved by

method of training a mentally deficient child


through motor culture to intellectual. But I have gone
the latest

86

MENTAL REACTIONS
by proving that the principle may be applied in
more elaborate form to the normal child, also to the adult,
farther,

with the certainty of being able to produce a higher stage


of mental development.

The

individual powers are increased to their

maximum,

and great change in degree may become change in kind.


The link between the two organisations is Tension,
which, while connecting the chain of physical processes
with that of the mental,
of the organisations
sensitiveness

to

is

only possible

is

This merging

allied to both.

when

the degree of

which the nervous and muscular

tissues

have been brought has reached the culminating point of

The

development.
distinguishable

mental,
intensity

and

from

those

fusion

this

of both

perfected

physical

that

activities

usually

are

then

regarded

as

hardly
purely

two forces doubles the


of the physical, by contributing
of

the

system of transmission for the will without

obstacle or resistance

that of the mental,

by reason of

power of expression, which makes possible


a stronger and more varied current of ideas, and removes
farther and farther the limitation of physical disability.
Let us now examine more closely the definite reactions
set up in the machinery of the brain by this process of
keying up the muscular and nervous tissues of the body
through Tension. This process of keying up produces a
very highly developed degree of sense activity, which may
its

liberated

best be described as the full consciousness of every muscle,

which allows of the


messages from the brain.

a condition

instant

transmission of

87

THE RENAISSANCE OF THE GREEK IDEAL


The road along which we
very careful
pressions

define

clearing,

may prove

now

are

otherwise

use

of

will

first

the

misleading.

travelling needs

certain

ex-

therefore

of the phrase " full consciousness of

my meaning

every muscle."

This involves no actual anatomical knowledge

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.

consciousness of every muscle in no

full

necessitates a

scientific

or

care,

of

speak

which

forms

of their

their
is

names,

nor even

The

functions.

con-

the result of an increased

the

soundest

for

basis

all

experimental reasoning, the only reasoning on which one

may

theorise

with

certainty.

Hypothesis and

synthesis

then become merely different stages in one experiment on

and not, as is usually the case,


the result of a theory evolved by one person and tested on
another, from which the conclusions drawn do not result
a complete organisation,

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

the question that

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

more consciously one controls


action of any kind, the more one concentrates upon the
thing one is doing and the less upon the self that is
consciousness.

doing

it.

Self-consciousness implies a wandering notice of


others

may

regard one's action, while

full

how

consciousness

power of concentration on the action performed,


to the entire elimination of self as the performer, and
therefore becomes true spontaneity, which means purely
internal suggestion independent of all stimulus from
without, with complete indifference to and independence
involves a

of external interference or constraint.

Let us return then to the most important function of


this full consciousness, the

power

of instant transmission of

messages from the brain.

To

be able to operate in this way, the brain must be

working order, constantly alert, for in a series


of rapidly changing movements, messages have to be sent
without hesitation and in their right order, otherwise a
in perfect

block occurs.

Roughly speaking, the

activities of

classified into three departments.

pressions

The

the brain
first

may

be

receives im-

the second forms ideas from those impressions

the third expresses those ideas in action.

We

will

impression

suppose that the


it

then passes

it

first

department receives an

on to the

creative department

to be registered as a definite idea, after

which

it

passes to
89

THE RENAISSANCE OF THE GREEK IDEAL


the third department to be expressed in action

may

the case

or

not, as

be.

In any case, the impression has passed through

department and
process

simple

quite

is

road clear for the next.

the

left

while

impressions

received slowly; the difficulty arises

when

follow each other very rapidly, for unless

are

each
This
being

the impressions
all

three depart-

ments are in perfect working order, the result is a clogging


of the second or registering department, which is unable to
check

off the impressions as they are received, so they lie

were, in a blur of unconsciousness, which

piled up, as

it

may

not result in action, but which could never

may

or

result in consciously controlled action.

The

expression " blur of unconsciousness "

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

venture to estabHsh a connection

theory

of

altered

mental

activity,

forward by the late William James in


He suggests
on " Human Immortality."

put

lecture

his

that

brain

is

not a producer, but a transmitter, of

thought

"According
itself,

rise

the barrier

and

fall.

It

which the brain finds


of obstructiveness may be supposed to
sinks so low when the brain is in full

to

the

state

in

activity that a comparative flood of spiritual

energy pours

At other times, only such occasional waves of

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

am able to state as fact


minimum this " barrier of
I

by the practice of

movement.

It

it."

perfectly

balanced

takes a long while to accom-

can be done.

it

begins with a brain which

may be compared

clumsy instrument, which only allows

at

first

to a

the passing

of incomplete ideas.

clumsy instrument makes for itself


something finer and more complex; that is to say, it
brings into use the more sensitive portions of its mechan-

With

practice, the

power to make a sort of


mental fine adjustment wheel which is able to register
hair's breadth differences and flashes, which before were
arrives at the

ism, until finally

it

impossible to the

less perfect

It

is

possession of

the

instrument.
this

mental fine adjustment

wheel which gives the perception of things through their


essence, through the knowledge of their proximate cause,
instead of

by

their result,

and enables the judgment

subordinate the importance of

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

Power, and on Will Power depends the amount of control


possible to a

human

being.
91

THE RENAISSANCE OF THE GREEK IDEAL


The chain

in the following

may

mental processes

of

thus be formed

way

may

Consciousness pure and simple

be defined as the

awareness of force, and the fuller or more awakened

this

consciousness becomes, the greater will be the power of


activity, force itself

The maximum
Tension,

its

being consciousness rendered active.


activity

therefore

the

consciousness which

can only be reached through

may

be

awakened
depends on the

degree

particular

acquired

of

amount of Tension applied to the muscular tissues.


The amount of Tension is governed by the degree to
which control may be exercised, and control depends
entirely upon Will Power.
Therefore, as Will Power is the medium of expression
of conscious force,

chain,

it

forms the

last

link in this deductive

and comes in touch with the

first,

which was

passive consciousness.

The most
processes

important

result,

the acquisition of

is

then,

of

these

mental

an enormously strength-

ened Will Power, the secret of concentration.


In the
first call

performance of the sequential exercises, the

that

made upon

is

a concentration,

the brain

study of

for concentration

moreover, of a very peculiar type, and

entirely contrary to the usual

the

is

problematical

fixed attention required in

subjects or in the effort to

commit long passages to memory. In these latter cases


the brain works upon itself, so to speak, a process resulting
in a degree of fatigue which finally makes concentration
impossible.
92

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

that of elastic concentration includes the

on any

particular point or subject with

much

of fixing

greater clear-

would otherwise be possible.


"Text-Book of Psychology" William James

ness of perception than

In his
says

"

The

faculty of voluntarily bringing back a wandering

attention over and over again


character,

An

and

will

no one

is

the very root of judgment,

compos sui

if

he have

it

not.

education which should improve this faculty would be

the education par excellence.


this ideal
it

is

But

it

is

easier to

define

than to give practical directions for bringing

about."

Another and greater philosopher

Socratesonce

said

to his pupils

" Self-control
the whole world

is

an exact science, and when discovered

may become

virtuous."
93

THE RENAISSANCE OF THE GREEK IDEAL


The

basis

of

this

science

lies

in a perfect

physical

on that alone depends the mighty structure


of an awakened consciousness, and, as " the laws of moral

development

nature answer to those of matter as face to face in a glass,"


the evolution of a perfected mental organisation

is,

am

convinced, governed by the same laws as that of physical

development.

made

completely altered condition of mental

by rendering the machinery of


the brain in perfect working order through the reacting
influence of the practice of sequential movement under
Tension, compHcated by extremely difficult conditions of

activity

is

possible

balance.

In the
vacillating

physical

world,

movements

fatigue

of an unbalanced

to that caused in the brain

the

by the

by the

caused

body corresponds

friction of indecision.

knowledge of the individual power of each


muscle with an absolute reliance on their being able to
respond instantly to any call that is made upon them,
finds its mental reaction in what Browning called " the
sure

eventual

element

of

calm,"

that

indispensable

basis

of

judgment, a condition of mental equipoise which makes


possible the control of

Here
control,

it

for

may
it

all

thought-movement.

be advisable to define what


does

not

necessarily

checking or holding back, but

may

mean

mean by

restraint

equally

or

represent

stimulative as well as repressive power.


" Self-mastery " is the more complete rendering of the

idea

the abiHty to

on the

let

oneself go, being sure of one's hold

reins; not the license of unrestraint, but the

94

Power

MENTAL REACTIONS
of Freedom.

Epictetus said

"

He

only

is

free

who

can

control himself."

Before dealing with further reactions, there are two


points

wish to take up in

are merely side issues,

detail,

although both of them

and have no immediate connection

with the main theory.

The

first

is

in

connection with the substratum of

impressions which are

formed by the clogging

registering department of the brain

pace with the work required of


I

when unable

of

the

to keep

it.

venture to offer the conjecture that this substratum

of unregistered impressions constitutes the subconscious

and

from habitual neglect


of the training necessary for the perfect working of the
mental machinery a neglect not of the individual only,
self,

that

is

a condition arising

but of the race, and which

may become

hereditary weakness as any of the


diseases.

Although

more

quite as

definite physical

speak of a condition in which sub-

consciousness predominates as one of weakness,


necessarily

imply that

much an

all

action

directed

it

does not

by the sub-

must invariably be bad. That will depend


upon hereditary tendencies and traditional influences but
conscious

self

habitually controlled action can only be the result of a

continuous motor existence, the outcome of a brain that

is

where every moment of the waking hours is


fully conscious, where every thought and movement has
its justification and nothing comes at random.
In each human being will be found unplumbed depths,

always

alert,

to a greater or lesser degree, according to the type of his


95

THE RENAISSANCE OF THE GREEK IDEAL


antecedents,

depths

which

it

rests

with

one

each

to

attempt at any rate to fathom.

The
key

to

transmission of hereditary weakness becomes the


the

solution

of

problem,

another

viz.,

transmission of consciously determined qualities.

the

Heredity

becomes a science in which the Will Power of the mother


on the unborn child becomes the chief factor. When
this science is knowingly neglected, the responsibility
for the sins of the children rests largely upon the heads
of the parents, more especially upon that of the mother,
who, if she understand aright the determinate quality
of trained Will Power, will be able to form the character
of the child before ever the light dawns upon its earthly
awakening.

No

more important branch exists in the study of


Eugenics than this, which deals with the definite training
of the unborn mentality by the will of the mother.
**
Man is a god in ruins," says Emerson, "he is the
dwarf of himself. At present man applies to Nature but
half his force.
at

...

the world with

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

made possible by Tension.


Will Power may be divided

into

two kinds,

that

which

which is the result of instinctive


desire or fear, and that which represents the force which is
trained and controlled by reason.
expresses

96

itself in

a force

MENTAL REACTIONS
The

first

permeates the whole of Nature, animate and

inanimate, and acts without conscious control.


is

that possessed

The second

by the human being alone, who

able to

is

by self-recognised reasoning power.


I have been asked whether this Will Power or active
force which becomes generated and enormously strengthened
under a condition of highly developed Tension is the same
direct

it

as that of a panther just about to spring at

its

prey

as that

which gives to a hunted stag the power to leap a chasm it


would never have attempted without a pursuer at its heels
whether it is this which enables a weak woman to perform
prodigies of strength to save her child from danger, or that
us over big fences out hunting that
should never have attempted in cold blood. " Cold

has taken most of

we

blood " that zero point of our Will Power which


1

is

thought sufficient for everyday use.


In

all

these instances, the resultant force

is

the same,

and the condition of Tension must have existed as an


But the
inseparable medium of expression for that force.
incentive

causes

are

different.

In the case of the wild

animals, instinct guided their movements, hunger and fear

most human beings,


some special emergency has been needed to awaken it,
After these spasmodic
either danger or unusual excitement.
the

two

strongest, while in the case of

efforts the result


lesser degree,

of Will

Power

is

collapse or overstrain to a greater or

according to the stimulating agent.

This use

as the result of accident or special excitement

may be classed with all instinctive or uncontrolled expression.


The Will Power that is possible to acquire through a
97

THE RENAISSANCE OF THE GREEK IDEAL


systematic training in Tension,
basis of all action,

becomes the
call is
effort,

of a nature that forms the

is

however simple

an

alert control

which

rule instead of the exception, so that whatever

made upon

it,

no

leaving

the answer

penalty of

comes

at

once, and without

overstrain,

condition

in

which catastrophe or mere incident receive an equally ready


response.

The power

to place oneself at will in a condition of

Tension in which force may be expressed


constitutes

practically

another

sense.

at its
It

is

maximum
extremely

words what this sense means to the


acquire it. Completely altered vibration,

difficult to define in

one who is able to


producing a feeling of continuity of movement a conscious
physical connection with some essential force of the
;

Universe, together with the ability to

make

use of

it

such

may raise a smile of incredulity, but this is


the result when the highest degree of Tension has been
attained at this culminating point, a human being becomes
a description

able to

comprehend and

assimilate

Cosmic Force

as

an

almost tangible thing.

This highly developed sense of movement thus becomes


a perfected sense of touch to the degree of being able to

the

feel

movement

of vibrations to

which

less

sensitively

developed organisations are dead.


Aristotle ranked the sense of touch as the

most important.

The

" First

the

natural, then

sense of touch, of feeling,

is

the basis

the

first

and

spiritual.

on which the

other and higher senses rest."

The
98

link

which brings the trained human being

into

MENTAL REACTIONS
conscious connection with things Infinite
It is

possible for a

were,

pitch

to

human being
of

sensitive

is

altered vibration.

become keyed up, as it


receptivity, which makes

to

possible this assimilation by the physical

some

force,

from which

organisation

must be separated so long

it

as

of
it

cannot respond to that particular standard of vibration.

The analogy

is

obviously that of the instruments used

for wireless telegraphy,

which have

keyed up

to be

to a

certain pitch of sensitiveness before being able to receive

and respond

to the

Increased

Hertzian wave.

rapidity

of

through Tension

vibration

productive of two apparently contradictory results.


as

first,

have pointed out,

that of

The second

receptive condition.

power

is

is

resistant

to other forces.

The analogy

for this

second condition

is

a spinning

gyroscope, which generates a force strong enough to


to

The

a highly sensitive

maximum

is

an extraordinary degree any

resist

towards deviation of

effort

direction.

even possible for a

It is

state of

Tension

having, as

and become part


use of

its

of

come
it,

in

touch with some other force,

to the extent of

being able to make

power.

My own
is

in the highest

to lose all consciousness of bodily weight,

were,

it

human being

theory on the subject

in this condition

of

is that,

tense, alert,

while the body

muscular control,

it

becomes a conductor of the unknown force of which I


spoke, and that the actual weight of atmospheric pressure,
together with

the

pull

of

gravitation,

which give
99

to a

THE RENAISSANCE OF THE GREEK IDEAL


body in slack condition the feeling of downward drag, are
no longer felt, being enabled to pass through tense matter,
leaving it with barely the sense of touch upon the ground
while the same body, left limp and slack, would become
non-conducting, and, so to speak, earth the force, in the

damp wood "earths" or "grounds" an electric


would then make felt every pound of its pres-

same way

that

current.

It

sure,

and

as weight,

as force, the pull

according to dynamic law,

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

the cat's legs appear stretched to

three times their normal length, while


in a vertical line above
It is practically

its

back

its

tail

is

reared

up

like a steel rod.

impossible for the average spectator to

and one has the impression that the


the ground in the condition of slack elastic,

register this position,

comes to
shown in the

cat
as

while

little

oneself

at

last

will

in

photograph.

ago
a

condition

practically another sense.


result of

said

that
of

Looking

power to place
Tension constitutes

the

first

Tension as a trained condition,

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

movement as ordinarily understood is as different from


sense of movement as strokes from finished writing.
In

highest form of development

its

it

becomes a thing

almost supernatural.

sense which has never been developed or which has

been atrophied or destroyed

becomes

practically

non-

Sound means nothing to the man deaf from


birth, but Sound is there, although invisible to him, while
to the blind man sensitiveness to sound is developed to
such an abnormal degree that he is able to sense movement
in a way that appears nothing short of miraculous to the
ordinarily endowed human being.
A blind man may
existent.

even discern differences of colour through their varying

When

vibrations.

ment

is

this

sensitiveness

vibratory

to

developed to such an abnormal degree,

it

move-

resembles

which enables it to avoid during


rapid flight any object with which it might come in
contact, and which may be defined as a sense of approach
that possessed

by the

bat,

through vibration.
Science has been able to apply the principle of the
bat's little

to

ocean

organ to an instrument which


liners.

This instrument

is

is

now being fitted

able

to

register the

distance of an approaching object, either vessel or iceberg,


in time to avoid collision.

All these analogies

perfected mechanics

go

is

organisation, but to a

to prove that

what

is

possible to

also possible to a perfected mental

much

greater degree.

So long as one keeps unsevered the connecting link

between the mind and

its

physical

means

of expression,
lOI

THE RENAISSANCE OF THE GREEK IDEAL


one may advance without

fear into the region of psycho-

logical experiment in the effort to attune one's nature to the

highest sensitiveness attainable.

But

result

this

must

be

achieved by keeping in touch with a controlled physical


consciousness, that one's visions into a world of transcen-

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

through increased sense

maximum,

to gain

an insight

into the almost limitless possibilities of a perfectly trained

Will Power, and to visualise the result of a brain mechanism


so perfect structurally, that
the stream

of

neither distorts nor obstructs

consciousness which

human mind from

I02

it

the

**

Mother Sea."

flows

through each

CHAPTER

VIII

SPIRITUAL REACTIONS
" The principal contrast under which

mere existence on

is that of

the

effort is viewed by Aristotle


one hand, and a complete activity on the
which ever looks vaguely beyond, and of

empty unsatisfied life,


life which realises its end and finds satisfaction in itself, of the being
given by Nature and that well-being which is achieved by one's own
other, of

acts.

activity,

with

profoundly convinced that complete


transformation of the whole being into living reality,

Aristotle, in fact, is

its

same time the full sense of happiness.


"Hence happiness is principally our own creation, it cannot be
communicated from without nor put on like an ornament; rather it is
proportional to rational activity, and increases with it.
"Hence only when activity attains complete substantial efficiency^
does it lift human existence up to happiness.'" ^

yields at the

SO

knew those

they

Greeks of old the intimate con-

nection between a perfect physical development and

moral sense of well-being, and

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

"strong," "fresh," "vigorous."


that

it

was eventually
1

"

The Problem

restricted
of Life."

it

Dr. Schroeder considers


to

religion,

from

Rudolf Eucken.
103

the

THE RENAISSANCE OF THE GREEK IDEAL


"uplifted feeling of the worshipper the sense of strength

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

them to connect with religion


the thing they most valued, and led them to adopt the
word " sacred " in connection with the worship of their
deities, for only with the best would they approach the
physical activity, induced

altars of their gods.

That the Greeks knew the intimate connection between


the diaphragm and the mind can hardly be doubted, for
their word "phren" means spirit or mind, and the "phren"

was generally used in the plural phrenes)


actually denoted the diaphragm, " the muscle that separates
the heart and lungs from the lower organs."
" Within the phrenes, the Greeks placed not only
all such feelings as we now connect with the hearts
as

(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;

" Phrenes," the seat of mental and spiritual

being by

the most important of

far

the

"Soma,"
and

life,

this

three,

and

considered the " noblest part of the man."

Haemon

104

his father,

tells
1

"

Ibid., p. 293.

Kreon, that the " gods have

Makers of Hellas,"

p. 224.

SPIRITUAL REACTIONS
men (human

implanted in
(feeling,

highest

mind,
.

will,

beings generally)

thinking faculty) of

the phrenes

all possessions the

the power, namely, of forming a moral

judgment, of distinguishing right from wrong,

justice

from

injustice."

The conception

of spirit

was

apart from any

totally

To

idea of religion as expressed in worship.

the Greeks,

meant the fine fleur of moral courage and energy, and


was the glory of their Paganism, as indeed it may be
it

the glory of every creed, being

common

to

all.

The

independent of though

striking examples of religious fervour,

whether Catholic or Protestant, Pagan or Puritan, which


stand out in the world's history, have been due to this same

which inspired the

spirit

was not the

It

spirit of the

The
was "

of

particular creed that

man which was

training, then, of
all

movements.

leaders of religious

made

the

man, but the

able to glorify his creed.


that particular

muscle which

formed the secret

possessions the highest,"

of the marvellous unity of their development.

Each

step

they took in advance was a complete one, for they re-

garded each side of

their nature as inseparable

from the

other.

" Whereas

have seen in

some

man

thinkers St.

Paul, Pascal,

a two-fold nature

Byron-

God and

beast

Greek was not conscious of such a distinction;


he only saw a unity, glorious in its action and itself,' in
which humanity was not distinct from divinity, nor body
from soul."^
.

the

'

"

The Greek Genius and

its

Meaning

to

Us."

Livingstone.

lOS

THE RENAISSANCE OF THE GREEK IDEAL


The

diaphragm upon the


proved in moments of joy when one takes
spirit is
while in
deep, expanding breaths which Hft one up
depression one's head falls forward, one's " heart sinks," as
the saying is, and there is a general feeling of collapse.
reaction

definite

the

of

Now

the converse of this

also true

is

that

to say,

is

by the practice of tense uplifting movements, you may


induce

its

corresponding

how

explains

the

basic

state of

principles

indissolubly connected with

balanced, tense

movement

and a

mind.

dynamic

lies

of

It is

this

aesthetic

are

the solution of the problem

answer

law,

"why"

of our perception of beauty in whatever

may

law

instinct, for in finely-

of this

clear

which

is

given to the

be expressed, either through music or

reason

form

painting

it

or

sculpture.

This answer

is

the power of

lift,

physical and mental,

and, rightly understood, the exhortation of the Psalmist in


the words,
far

**

Lift

more than

On
of the

up your

a figurative

hearts,"

comes

to have a literal

meaning.

the strength of the diaphragm depends the strength


spirit,

that

unquenchable flame of conscious Will

Power, the energising fire that Aristotle called ** the reality,


energeia" in contradistinction to the temporahty of mere
brain mechanism.

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

convinced, was achieved through definite

of the diaphragm, a bracing into tension

an immediate mental and

to say, this

when

the result

is

spiritual

which
reaction. That

the whole organisation

is

already in a perfectly trained condition.

by some translators that


Chapman allowed himself too much Hcence in the transI

believe

lation of

many

with the Greek

seems

considered

is

it

passages of the Iliad, but


spirit,

to render in

he was

filled as

his interpretation of these passages

more

vivid

form the energising

which the Greeks were so deeply imbued.


In the Fifth Book, Atrides reviews
encourages them with the words

his

fire

with

troops,

and

"O
is

friends," said he, ''hold up your minds ; strength

but strength of will."

Why

did he say that ?

habit of locating the

spoken thus

to his

mind

men.

Had

the Greeks been in the

would not have

in the head, he

But he knew,

as they did, that

meant spiritual and mental strength was in the


diaphragm, and he was simply teUing them to brace their
bodies into tension that the will might have unhindered
command of their whole natures.
that

all

In the Twelfth Book occurs


"

this

passage

The Trojans

fought not of themselves, a fire from heaven was thrown


That ran amongst them, through the wall, mere added to their own.
The Greeks held not their own; weak Grief went with her wither'd hand,
And dip't it deeply in their spirits, since they could not command their forces

to

abide the field."

Meaning here
stronger,

the

that
will

had

would

their

have

physical

been

control

able

to

been

operate
107

THE RENAISSANCE OF THE GREEK IDEAL


enabling them

effectively,

keep the

fire of their spirit

hold

to

their

ground and

to

undimmed.

Again, in the Eighteenth Book, the Trojans reach a

when

point

a time

for

retreat

becomes the wiser course,

and Polydamus urges them not to put too great a strain


on the mental strength, although he recognises that it is
capable of carrying them on even when all the physical
force

exhausted.

is

"If ye yield, though wearied with a fight

we

have strength in council and the night.


And (where we here have no more force than need will force us to,
And which must rise out of our nerves) high ports, tow'rs, walls will do
What wants in us."
So

and

late

And

long,

so on,

all

shall

through the Iliad, runs the

force born of the will alone,


to the very

spirit of a

which could be reUed upon

last.

Chapman

himself reaHsed that he would be criticised

for his interpretation of

"

Commentors " in his


Seventeenth Book by

many

and he answers his


" Commentarius " at the end of the
a

passages,

vindication

of the

rendering of

a certain passage in these words


'

It is

something probable that

Commentors],

the

in

this

trifle

their oversight
is

thousand other errors in matter of

and

depth

gravity,

which

will

[meaning

accompanied with a
our divine Homer's

open

not

itself

to

but only to the natural

curious austerity of belabouring

art,

and most ingenuous soul of our

thrice sacred poesy."

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

and most ingenuous soul " will be


revealed the inspiring flame which escapes analysis, eludes
even definition, but which illumines, with a clear radiance,
the understanding in which one spark exists as touchstone.

The knowledge must be there. It only remains to


know that we know ; and herein lies the secret of all
discovery of truth.
The discovery consists in telling
others what they know already, while yet unaware of that
knowledge.
Truth, in whatever form
simple

that

recognise

it

when

revealed,

instantly,

may be

it

human

normal

all

and the

expressed,

telling of

it

is

so

beings

consists in

arranging the mosaic of facts in a pattern which appears

most

one who has been puzzling over its


colours with a view to evolving a clear and

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

mathematician Euler when questioned


of his

famous law

of arches

to all experience, yet

thing

is

it is

given

by

the

as to the correctness

" This will be found contrary

true.'^

when

con-

which has been found contrary

to all

only impossible

tradiction, but a law

that

it

implies

experience need not necessarily involve this contradiction.


109

THE RENAISSANCE OF THE GREEK IDEAL


The

theory

which

laws

of

highest

Nature's

offer

accordance

in

is

with

development, and in no way

against them.
It

nature
I

may be

argued, that complete control over

impossible under existing

is

human

one's

limitations, but

movement, and the


impress from the finest movement,

recognise no limitations.

All

life is

must take its


the finest spirit from the finest activity.
There are no real statics in the realm of expression;
each entity has a story, and life is its telling. The symbol
on paper is not the whole of language.
finest life

The knowledge
is

that there are

no

limits to the heights

The work of

the incentive for the soul.

accompHshment, and the goal

the joy of

becomes
beyond the

striving
is

stars.

the

future

charm, so

may we

If

is

were known, existence would

lose

its

revel in the Infinite, realising that there

nothing perfect save law, and that to reach perfection

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

to achieve this ideal

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

the fact that the

SPIRITUAL REACTIONS
wide the doors of a new world,
price

depends only on

it

In this

pay the

willing to

if

this.

new world may

man

and enter

find his soul,

into his full heritage.

Before the harp can yield the glory of


strings have to be stretched

and keyed up

its

music,

to the

its

power

of

response.

The power to respond is the


human being Without it, man is
developed to

its

utmost

highest
lost

of

the

with this power

road

the

limits,

desire

clear,

is

and

nothing can obstruct or discourage.

To

the

human being whose organism

has been trained

and respond to the highest laws comes reward


in the shape of a power to discern and accept the inevitable
without wasting strength and energy in useless combat,
to recognise

at

the

same time

realising

how few how

are

inevitable

with

and
moulded by it.

dominate

circumstance

conditions

overcome
This

is

will

very

few

strong enough to
rather

than

be

the culminating point of achievement in moral

outcome of that conservation of


energy, both physical and mental, which gives to life in
its whole expression the clear-cut movement and definition
of action, the unity of perfectly balanced forces working
together with the minimum of strain, and thus achieving
reaction,

the

and

is

the direct

maximum result.
And this result, once

achieved,

is

there forever; there

no slipping back, no growing stiffness of knee joints to


be remedied, no slackening muscles to be worked up, no

is

III

THE RENAISSANCE OF THE GREEK IDEAL


aching spine that demands longer hours of couch repose
each month or year, no nervous strain or irritabihty or

power

uncertainty, only calm confidence in the

to envisage,

unshaken, every eventuality.


Everything works in harmony, and the physical
integration,

inevitable

imperceptible from

Under normal

its

under

the

dis-

becomes almost

law,

unity of change.

conditions,

would become possible

it

eventually so to conserve the energies until the end, that

no one particular part of the physical organisation would


have greater demands made upon
habit of a perfectly-balanced

very

gradual

lowering

of

flame of man's

resulting in the gradual

life

flame

the

expires while yet rising, so will

than another, the

it

and

as

flame

that energising fire, the

remain clear and strong to the

spirit,

last,

and inspired by the knowledge that it is possible for


human nature to achieve its highest end on earth.
Having reached this condition, the concept of time
becomes one, not of duration but of degree of attainment, independent of all circumstance, and the answer to
the eternal question of the pessimist, "^ quoi bonf" rings
lifted

out clear and true.

A
all

are

clear vision

the realisation,

the possibilities of Hfe at

ample reward

come

to those

for all

who

fight,

must be a preparation
If

its

its

if

only for one day, of

maximum

pain, for

all

activity, these

the

wounds

and the attainment of

that

this ideal

for all eventualities.

the flame dies for ever, then the top note of achieve-

ment has been reached


112

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

have been attained.

But on whatever plane the spirit of man finally arrives,


the words that Keats placed in the mouth of the Greek
god of old will for ever remain true in their representation
of the ideal achievement in Hfe:

"To bear all naked truths,


And to envisage circumstance,
That

is

all

calm,

the top of sovereignty."

"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

changes of position are shown by pages of cinematographic

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

recommended that the first two exercises


should be taken as a commencing lesson, and that, as
the movements become more familiar, gradually other
itself.

It

may be added, one

exercises

when

is

the whole

series

has

set

being chosen

The only approach


recommend is that
Exercise
varied.

useful

/.,

This
for

to

however
first

for

definite

five

different exercises,

the

much

exercise

has

following

routine

beginning

of

Eventually,

been learned, each practice

should be confined to four or


different

time.

at

all

the

proved

that

practice.

strongly

practice

others
itself

may
the

with

be

most

the initial suppling of the muscles, after the

body has been drawn up

into the Preliminary Position.

"7

INTRODUCTORY NOTE
Half-an-hour's

practice

few lessons, but

first

will

later

be

on,

found enough

for

when muscles and

the

joints

begin to get more accustomed to the movements, an hour

seem very

will

for

short.

This, however, should be the limit

any practice, however perfect the student may become.

Each

each side,
left,

must be done the same number of times on


the instructions being reversed from right to
great care taken to omit no detail of this

exercise

and

reversal.

ii8

EXERCISE

FROM

the Preliminary Position, raise the arms in

front

the

until

elbows

(very

sHghtly

bent)

are

on a level with the breast-line, the hands tightly


Now take a step back
clenched and about a foot apart.
with the right foot, carrying the body with it at exactly the
same moment, and taking care to keep the torso viz., that
body from shoulder

part of the

The moment

tension.

bend

the knee

as

four or five inches.


leg remains perfectly

the ground,
instep

be

verti-

the right foot touches the ground,

much

as will lower the

raised

line of the

Plate

In

this

toe touching

the

whole of
the left might

position the

on the right foot, so that


up and down without disturbing the
is

vertical

body.

XLIX.'^ shows the

Plate

XLIX.*^ gives

and

an

imaginary

the

ear,

shoulder,

knee has

the

heel well raised, the upper line of

curved outwards.

weight

front;

the

body about

During this backward step the left


still and tense, straight as a rod of

with only the extreme point of

steel,

the

absolutely

by bracing the muscles of the waist to their utmost

cal,

let

to hip

left

it

vertical

position
it

more

line

as

seen from the

clearly

should

in

pass

profile,

through

and ball of the foot, while the


without in any way disturbing the rest of
hip,

119

THE RENAISSANCE OF THE GREEK IDEAL


the

From

line.'

across

swing the

this position,

the line of

the right, straight and tense, until

reaches the horizontal, at which point


acute angle with the right leg, that
front of the right leg

During

up and

leg

left

to

the

should form an

it

to say,

is

it

it

passes in

an acute angle.

extent of

movement, the right knee remains bent, but


the right foot is pushed forward on to the ball of the
toes, which allows the torso to remain vertical and the left
this

leg to swing freely.


is

made

to

be found that

It will

swing up the

left

an attempt

if

leg while the right heel

is

on

the ground, not only will the leg not be able to reach the
horizontal, but the knee (that

is

bend, and the shoulders will

will

any attempt

on
the most

raising the right foot

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

form an obtuse angle

make

knee)

knee

is

still

only after long

can be done without moving the body

by the simultaneous downward swing of


to

left

forward, destroying

to the toes while the

This upward swing of the

itself.

the

say,

This apparently easy movement of

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

which the body faces. Care should be


swinging them down not to alter their relative
but to keep them always about a foot apart, the

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

over the toes.


1

20

X
X
w
<

CINEMA

TaMifci

iipin

SERIES, No.

5.

m
Copyright.

Kxcruisc

1.

in Dc!,i

EXERCISE
elbows

bent, as at

slightly

body

passes in front of the

although the arm that

start,

necessarily

will

have a more

decided bend than the other.


Plate

XLIX.^ shows
of the

position

formed by the

foot should be

right

movement

this is the

left

very clearly this poise, in which the


carefully noted, as

The

so difficult to perform.

leg

and the arms

in

angles

relation to the

body can be very easily seen from this


photograph. There should be no pause when the left
leg reaches the horizontal line, but, like a pendulum, it
direction of the

down again instantly, while simultaneously with


downward movement must come the upward return

swings
this

of

the

up

of

arms
the

and the straightening

to their first position,

knee

right

to

both

allow

together for the final poise well up


is

the

same, of

course,

During the lowering and


counteracting movements
should remain tense and
taken

not to twist

the

as

that

raising
to

on the

are

movement of the left


clearly shown in Cinema

From

toes,

which

in

of

body, with

the

and

right

while

Plate XII.

torso

particular care

being

swinging down the


will

Intermediate

leg.

Series

its

the

left,

arms, but to carry them only just so far as


the

come

shown

vertical,

waist

to

feet

No.

balance
positions

5.

on the toes, the exercise should


be recommenced, and only on the initial step backwards
the final poise

of each repetition should the right heel touch the ground,


after

on

which

all

other

movements must be performed poised

the ball of the foot.

These instructions constitute

counsel of perfection,
121

THE RENAISSANCE OF THE GREEK IDEAL


and

it

must not be expected

that this nicety of balance

can be acquired in a week or a month.


to

make up such

a condition of

mind becomes

able to control the physical

movement.

For practice on the

side, these

be reversed.
times
poise

The

better

movements should

exercise should be repeated five or six

on each side, going back in a straight line and the


on the toes being carefully maintained for several

seconds after each repetition, though


impossible
the

things go

equiHbrium, which can

only be acquired gradually, as the

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 Preliminary Position, raise the right hand to

the shoulder, with clenched


possible to

the

twisted as far as

fist,

the elbow bent and

left,

kept as

closely to the waist as will allow the forearm to remain verti-

Simultaneously with this movement, the

cal.
is

left

forearm

brought across the waist in a horizontal Hne, the hand

also clenched.

As

the arms are being brought into position, take a

short step back with the


it,

so that the

right

foot

extreme

upper

foot, carrying the

whole weight

is

over

the

left,

point

of

the

the

toe,

During

whole of

the

Plate

this

be taken to avoid the

movement

least

it

ments which prevent

The two

has a tendency
hips,

which

definite

move-

in the hips are the

alteration

this

the

Care should

two

relax, altering the level of the

once destroys the balance.

gives

of the waist while

stepping back, for, unless perfectly tense,

at

L.*^

exercise,

knees remain absolutely straight and tense.

and

while the

heel well raised and the

curved outward.

line of the instep

to twist

body with

remains barely touching the ground with the

position.

this

left

conscious drawing up of the waist muscles, and the raising


of

the

right

heel

so as to allow the

to

lengthen the line of the right leg,

body

to

go back

a vertical line over the left foot.'


'

To

test the difference in length

the ground

again,

and note the

pull

far

From

made by

enough

to

form

this position, the

raising the heel, place

forward.
123

it

on

THE RENAISSANCE OF THE GREEK IDEAL


body must be spun round on the
right angle turn to the

and up

the right leg swinging back

left,

same moment.

the

at

ball of the left foot in a

complicated movement than

at

This

is

much more

appears, for, as soon

first

backward swing brings the leg to a lock against the


right hip, the movement is carried on by bending forward
on the left hip, while the right leg and spine form one
continuous line, which should work in unbroken connec-

as the

tion, the leg rising while the spine

is

the two form a horizontal line, when,

being lowered, until


if

should be maintained on the ball of the

The

seconds.

point
to

level

utmost

its

same

from

semi-circle

on

foot for a few

left

spin round into this position

rapid pull round of the


in a

possible, the poise

left

arm, made by drawing the

first

its

with the

limit,

so

The hands should be

fist

position at the waist to a

left

that

position, the right

aided by a

is

shoulder, the elbow bent

both arms are

now

arm having remained

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

any alteration in the position of the head

once upsets the


maintain.

poise,

which

is

Plate L.^ illustrates

one of the most


this poise, which

at

difficult to
is

extremely

from the point of view of the different angles


formed by the varying weights of torso and leg, and the

interesting

precision needed in their

combined movement

the centre of gravity to remain over


124

its

base.

to enable

w
<
Oh

CINEMA

SERIES, No.

Copyright.]

Exercise

II. in Detail.

6.

EXERCISE
If

an imaginary horizontal

II

line

graph, the forehead and toe will

extreme points, while the vertical

from a

little

behind the

ball

through the knee and the


the two lines,
(toe)

first

left

hip.

found

be
line,

the

of

from the head

drawn on the photo-

is

starting

left

The

to

foot,

be

the

upwards
will

pass

angles formed by

to the left foot,

where

it

(Ki)

(foot;

touches the ground, and again from the right foot to the
left,

together with the connecting horizontal of

the line

from the right toe to the head, constitute an example of


the triangle of forces resulting from the difference in
weight of the torso and
trating,

the

with

triangles

leg.

have given a diagram

illus-

measurements taken from Plate L.^,


formed by this poise.
By lowering the

exact

125

THE RENAISSANCE OF THE GREEK IDEAL


horizontal line until

are level with B, that

by straightening out the extended leg and

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

as the larger angle

must be
enable

it

DBA.

so important not to add to the length of

it is

the body-line by lowering the head, as

it

then becomes

impossible for the leg to counterbalance the extra weight,

having already reached

its

utmost length, and Hke a

see-

saw badly balanced, one end goes up while the other


This is certainly the most fascicomes to the ground.
nating poise to attempt, albeit the most difficult to achieve
and it may be wondered why it should have been selected
as the

second exercise.

movement

may

itself

The reason

is

that,

although the

one of the most difficult, the exercise


among those which do not involve such

is

be classified

complicated mental direction as most of the others.


this

mental control

constitutes the

greatest

difficulty

As
in

connection with these exercises, they have been arranged


with a view to

facilitate a

gradual increase in the power of

concentration needed, that special concentration of which


I

spoke

in

Chapter VII., which enables the

mind

to

pass rapidly from one point to another with unhesitating

and always just ahead of the physical movement.


The recovery from this poise is made by a reversal of

certainty,

the

movement

of the horizontal line, the start being given

by the tense muscles of the waist, which are able

to raise

the body and lower the right leg simultaneously without


126

EXERCISE
in

any way

disturbing

the

rigidity

whole body, therefore, returns

moment

comes

the right foot

II

the

of

The

line.

position the

to its vertical

ground, and the

to the

final

up on the toes with the


Plate L."^ shows the final
feet pressed close together.
position of recovery, and Cinema Series No. 6, giving
poise should be maintained well

the details of this exercise,


Series, the

third
it

viz.,

row reading from

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.

be some time before the pupil will be able to

this

recovery

from the horizontal

after time the exercise will be cut

trollable

fine

better definition of

balance

an achievement on a raised
It will

for the

spirit of

little

being so

to right),

was worth an enlargement

detail.

to

apex poise,

one of the best of all the


No. 9 (the first poise of the

is

pitch forward of the

in half

Time

poise.

by the uncon-

But patience, and

body.

a right leg as tense as a steel rod to the tip of the toes,


will eventually

be rewarded with a momentary poise which

brings a quite unusual exhilaration of

renewed

best possible incentive to

Later

still,

when an

its

own, and

first

finished,

occasional

at

viz.,

the

effort.

recovery

achieved, the repetition of the exercise should

where the

is

right

been

has

begun

be

angle

to

the

starting-point.

Four

of these repetitions will

to the exact spot at

which the

pleting a geometrical series.

therefore bring the feet

start
It

was made, thus com-

should, however, be
127

some

THE RENAISSANCE OF THE GREEK IDEAL


time before these completed series are attempted, as the

one

details

of

before

complicating

combinations.

128

exercise

the

must

be

mental

thoroughly

movement

by

mastered
further

EXERCISE

STARTING

III

from the Preliminary Position, take a

lunge forward with the

left foot,

weight of the body forward


as the

advancing

foot,

at the

bending the knee

the ground, sufficiently to force

carrying the whole

same moment

as the foot touches

up the heel about an inch,

leaving the weight poised on the ball of the foot.


leg should remain tense
of the exercise

on

this

forward on the lunge,


of

all

The

right

and unbending during the whole


side, and as the body is carried
leaves

it

the

right foot relieved

weight, so that only the extreme tip of the big toe

touches

ground, while

the

the

foot

itself

should

be

turned well outwards and form a right angle with the

Simultaneously with the lunge, raise

line of the left foot.

the

arm

left

in

parrying

movement,

so

that

the

forearm passes in front of the forehead about four inches


distant,

horizontal from the elbow, and tense to the tip

of the outstretched fingers

outwards.

Plate

LI.'^

the palm of the hand facing

shows

this

imaginary line should pass through the


hip,

and

ball of foot,

of this line.
off

would end

in

left

of this

an

ear, shoulder,

position

which gives the impression


front

and

while the knee will be well in front

The photograph

the profile,

position,

of

the

foot

is

little

that the line

instead of at the ball,


129

THE RENAISSANCE OF THE GREEK IDEAL


but this

The

not really the case.

is

exact height of the

from the ground is controlled by the bend of the


knee, and when it becomes impossible to get nearer than
one inch to the ground with the heel, the knee bend will
left

heel

have reached

From

its limit.

lunge the second position

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

from the ground

rises

necessitates

placed

straightening

the

reached by

and thus raising the body

knee,

left

is

of

still

the

the

for

an

instant,

on

it.

Simul-

left

stretched

leg,

the

behind

out

same angle, and finally raised four or five inches


from the ground. There must be no pause, however,
on this second position, and the moment the left leg
straight, the right leg should be swung round
is quite

at the

wide semicircle in which the hip constitutes the


This movement carries the body round with
rotary axis.

in

it

in a right-angle turn to the left,

on the
as

of

ball

the

The curve

foot.

left

soon as the right-angle

which must be made


is

stopped

reached, by bringing the

is

extreme point of the right toe to the ground, a


in front,

and

to the left of the left foot, so that the

are crossed, the under part of

the knee-cap of the


in

opposite

left.

directions,

been made, pointing


turned across
direction
130

in

to

the

the

The two
the

left,

slightly to
left,

right
feet

littk

knees

knee touching

should be turned

on which the turn has


the right, and the right

each in acute angle to the

which the body

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

and will be found to pass from


the nose, down through the centre of the body, directly
to the ball of the left foot.
This extremely difficult
balance

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,

swings round tense as

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 momentum when once


Above all, it must be remembered

on the curve.
this right leg must be

that

no

that

resistance

like a

disconnection

through the curve, and

needed

leg into the

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

which, as pivot, must cover the

The
the

great
waist,

not to invite this by leaning


see

when

with Tension,

break or check, provided the Tension

foot,

bending

steel

This happens when half-way

bring the vertical

to

rod of

occurs

the hip-joint.

at

the

in

carry

started

so

hip-joint,

be found that the weight of the right

will

It

the

are

doing;

difficulty will

and care
for

ball
least

be to keep

must

forward with

is

be

taken

the head

to

what the neck does


131

THE RENAISSANCE OF THE GREEK IDEAL


the head
so

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,

up from the ground without disturbing the


body,

the

vertical

line

of

on the

left

toes,

to

poised

as

it

should

be

full

which the instep should be almost

perpendicular.
I

have purposely

as to avoid

bered that

the

arm movement

undue complication, but


it

is

it

to the

last,

so

must be remem-

performed simultaneously with the leg

As soon as
brought down from

curve.

left

this

begins, the

left

arm should be

the position of parry in a semi-circular

movement, to a point level with the left side of the


waist, and about two inches distant, the fist clenched, the
elbow well bent, pointing outwards and slightly backwards
The right arm must be brought up by
from the side.
bending the elbow, until the hand, with open palm
turned outwards, is on a level with the right shoulder,
and distant about five or six inches.
This finishes every
detail of Plate LI.''
be possible to remain
It should
erect and still in this position, poised on the left toes,
with no weight on the right foot, which, as I said before,
may be lifted a few inches from the ground merely as
From this
a test of the perfect balance on the left.
position the right leg is swung backwards in a wide
semicircle, tense and unbending as always, while yet
This movement is
loose and free at the hip-joint.
accompanied by the simultaneous bend of the left knee,
so that the body is again lowered four or five inches, and
132

EXERCISE
is

once more

in

line

angles to the
the

and turned out

left,

as

before at right

The hands should be swung down

left.

to

simultaneously with the leg movement, the elbows

left

Plate

the

bent,

slightly

LI.*^

the

all

alter

of

details

this

and

position

In

tense.

are

clearly

be taken that the arm-swing does

position

the

outstretched

fingers

Care should

shown.
not

lunge position, the right foot almost

in the

with the

III

the

of

hips

although

waist

the

makes a slight turn to the left. The final recovery,


which is made by springing backwards and upwards, from
the left toes, finally bringing them close to the right,
LI."^
This spring back is performed
is shown on Plate
entirely by the ball of the left foot, carried on by that
of the right, which receives the weight, these movements
being aided by the Tension in the right leg, which three
factors combined draw the body up once more into a
vertical line, both knees straight, the right arm having
swung round in a semicircle to the right side during the
spring, the whole weight finally poised as high up on
itself

This

the toes as possible, the feet pressed close together.


finish

the

leaves

body

at a right

angle to the

as in the case of the other exercises, the next

start

one should

commenced from the finishing angle, so that


series of four may
be completed by a return to
be

to

the single exercise has

complete

due

to

the

it

has

become

invariably

series

of detail until

the
the

But, again, this should only be attempted

starting-point.

when

and,

become

alteration

of

familiar, as the effort

destroys

the

perfection

definitely mastered.

angle,

which

is

This

is

unexpectedly
133

THE RENAISSANCE OF THE GREEK IDEAL


disconcerting at

It

first.

is

wiser,

therefore,

to practise

some time the two different sides only, recommencing


Eventually, two series of
at the same starting point.
four exercises on the right and the same on the left
are, as a rule, enough of this particular exercise.
Cinema Series No. 7 will render clear whatever has
for

been

difficult to explain in this exercise.

apparent
will

be

notably in the

seen that

fifth of

the right knee

the
is

Several faults are


first

row, where

it

bending as the leg

There was some excuse for this


in the torture of spinning round with bare feet on a
piece of linoleum which had become scorchingly hot in
the blaze of a July sun; a rather severe test on one's
begins to swing round.

powers of concentration. There is, however, a very fine


climax of poise in the second of the third row, and, if
looked at with a magnifying glass, the extreme tension of
the leg muscles
clearly seen.

134

and

especially those

of the foot will be

CINEMA

SERIES, No.

Copynght.]
Exercise III. in Detail

7.

EXERCISE IV

STARTING from the Preliminary Position, take a very


short step backwards with the right foot, carrying

the

body well back so

the right heel, leaving the


tip

left

that all the

weight

is

over

foot with only the extreme

of the toe touching the ground, the heel well raised,

and the upper line of the instep curved outwards. (See


Plate LII/)
The arms remain throughout this exercise
the

same

as in the Preliminary Position, viz.,

to their full

drawn down

length at the sides, and tense to the finger-

The body

and poise of the head should remain


absolutely unchanged, the whole movement being confined
to the left leg, which is to perform a wide three-quarter
circle on the principle of the moving arm of a compass;
the pivot arm being represented by the immovable line of
the body and right leg, revolving on the heel, and actuated
tips.

also

by the motor incentive of the

left

leg alone, without any

movement.

Having taken the step back,


brace both knees to their utmost Tension, remembering
that the whole body must remain in a tense vertical line
over the right heel, which will form the pivot.
The start
for the pivoting movement is given by the left leg, which
independent

should swing straight from the hip in a wide, graduallyrising,

backward semicircle,

straight

and

tense, with
135

the

THE RENAISSANCE OF THE GREEK IDEAL


toe

pointing towards the ground.

still

the

starting

movement

good photograph

the

of

Plate LII. shows

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

sense of effort in effecting this turn.

needed

and

being

effected

by the

the hip at a certain

sufficient

to

is

point,

bring the body

sweep of the curve, provided always (and


this is the whole difficulty) that it is able to maintain the
unbroken vertical Hne through Tension, so that a pull at
any point of this vertical Hne will act on the whole line
itself

into the

at

pivot only, viz., the heel.

its

occurs
start,

raised

when

and
so

pivot foot

the

at this

that

left

makes

the same, so that

resistance at the hip

leg has reached a right angle to

moment

the

The

heel

the

may

left

toes should be slightly

revolve quite

freely.

a revolution of a half-circle

when

its

the

The
body

the curve ceases the student should

be facing exactly the opposite direction to the

start.

To

must make three-quarters of a


circle, at which point the left foot comes to the ground,
on the ball of the toes, while the left knee bends instantly
to allow the weight of the body to be transferred to the
left side in a vertical Hne over the ball of the left foot,
resulting in a side-lunge as the final position.
At the same
moment that the left foot touches the ground the right
will have finished the pivoting movement on the heel, and
arrive at this, the

without a pause

left

leg

this heel

should be raised so as to leave

only the extreme point of the toe touching the ground


the right leg remaining throughout
136

Hke a rod of

steel,

<

EXERCISE IV
and tense

straight

same

and head

in exactly the

relative position as at the start.

Plate
it

the body, arms,

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

keep the waist muscles tense.

to

effort

they will bend backwards, so that the sensation of

falling

back

will naturally upset the balance.

the student gets round

forward.

left

will find,

foot

This

difficulty constitutes

to prevent a pitch

the

main

interest

this

apparently simple exercise; there seems at

less

movement than
round

swing

and

by chance

on landing
these same muscles

somehow, he

on the ground, that


give way forwards, and that he is unable

with the

If

first

of

sight

in

any of the others, only one leg to

it

can't

be

done

In

reality,

the

and lies in the impossibility to


the beginner of localising movement, of keeping practically
the whole body immobile, and concentrating all action on
difficulty is purely mental,

one particular
a

more

joint.

For

this reason, this exercise

intense concentration

that
connection than
Tension

is

to

say,

and

demands

a far higher vibratory

more

absolutely

unbroken

and this maximum velocity


of vibration is only arrived at through exceptional power
in the diaphragm, enabling it to radiate at maximum speed.
Confining

which

any other

myself

this condition

solely

may be

to

the

physical

means

by

acquired, the effort to keep


137

THE RENAISSANCE OF THE GREEK IDEAL


waist

the

some

fully

extent,

stretched

and

as

there

will

lighten

very

is

the

little

difficulties to

physical fatigue

may be repeated until the


student gets either tired or angry, when it will be wiser to
leave it for another practice and come to it again fresh.
The recovery from the side lunge is made by a spring

connected with

this exercise,

from the

ball of the left foot,

the body

comes once more

it

upwards and sideways,

until

into an erect vertical line, with

up on the toes. The


exercise should be repeated six or eight times on each side,
the start being made each time from the finishing position
but this repetition should not be attempted until some sort
both

feet pressed close together, well

of mastery has been gained over this very fascinating but

inexplicably difficult exercise.

The maximum

height reached by the rising curve of

the swinging leg should be about twelve inches.


effort

will

great

be needed to avoid bending the knee of the

which must be like a steel rod the whole time.


Cinema Series No. 8 gives the details of this exercise; it
is an exceptionally good one, and in the first three rows
there will not be discovered the sHghtest wavering from the
vertical Hne.
I myself was astonished when I saw the
pivot leg,

on careful examination, there will be seen


on the background a faint line, which comes by chance
immediately above my head, and this will be found in
photographs,

exactly the

for,

same place

until the last row,

when

lunge naturally carries the whole body over to the

138

the side
left.

CINEMA

SERIES, No.

^tmt

Copyright.}

8,

EXERCISE V

FROM
on

the Preliminary Position, take a step forward

to the toes of the left foot, bringing

also

on the

up

the right,

toes, very swiftly close to the left, press-

ing the two feet together, with raised heels touching.


these

knees.

steps

should

be

taken

with

absolutely

Both

straight

Simultaneously with this step forward, bring the

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

absolutely loose with no weight

drop of the body

is

the
it.

as

left

leg

held

The sudden
sudden an up139

THE RENAISSANCE OF THE GREEK IDEAL


lifting

over the

now

both arms with hands

of

and about

left)

five

clasped (the

right

or six inches above the head.

more readily grasped


by photograph than by any amount of description, and
From this posiPlate LIII.^ shows them quite clearly.
tion the whole body must be turned completely round in a

The

details

of

this

position

are

half-circle, so as to face the opposite direction,

but without

disturbing the relative positions in any way, and the spin

round

executed in the following way

is

With

the right knee

the weight

hands

down,

sweep

on the

still

tightly

the

to

limit of the

right,

still

ball

bent, the

body

still

vertical,

of the right foot, bring

clasped,

taking

in

the

rapid

the

semicircular

waist-line

as

curve, keeping the hands close to the

the

body

and bringing them again to the same height above the


If the whole of
the body is kept tense and
head.
immobile when this swing is commenced, it will be found
that as soon as the arms meet with resistance at the
shoulders in their swing to the right, this resistance will
be enough to start the whole body pivoting round with
the greatest ease, as one immovable mass, on the ball of
and the spin round into the opposite
the right foot
direction will have taken place apparently by itself.
;

what will happen, provided the


unbroken tension has been maintained, which keeps the
perfect vertical line of the whole weight over its pivot.
What actually happens with the novice at first, unfortunately, is a complete inability to get round at all.
The
foot seems glued to the ground, while the waist endeavours

This

is

140

practically

<

w
<

o
isacisii

EXERCISE V
hope of dragging the body

to twist independently, in the


after

it,

movement which
and a

of the balance

The movement
formed

forward.

fall

most beautiful when correctly perline, turned completely round on its

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

the bar being represented by the horizontal

The arms, working from

line of the shoulders.

beautifully

loose ball-and-socket shoulder-joints, are able to describe

part

great

of

curve

their

encountering

before

the

which sets in motion the horizontal bar of


the shoulders, and eventually draws into the movement
the whole vertical axis of the body, rigid in its conresistance

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

leg from taking

eliminate

of the ankle

all

needless

foot should only

is

is

being

sufficient, the

should remain unchanged.

But

the turn has been made, position

No. 3 being merely No. 2 facing


This position

The

ground while the turn

movement

position of the leg

we

bar.

movement, apart from

tense,

any active part

horizontal

in the opposite direction.

followed by a lunge backwards with the

movement

that

demands

gradual sinking

back without looking round, or indeed making any other


movement, except that of lifting the left foot just clear of
the ground.

This sinking back involves, of course, the


141

THE RENAISSANCE OF THE GREEK IDEAL


gradual straightening of the right knee.
is

completed,

arms are brought

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,

the foot touches the ground.

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

does not represent the


that

For

LIII.^

this

In doing the whole exercise before the camera,


that in taking the lunge

of

Plate

LIII.^,

the

back from the

foreshortening

full-face

made

it

view

of

reason
I

found

position

impossible

and knees. I therefore


had this one position taken in profile, and to understand
how I arrived at the lunge as shown on Plate LIII.^,
it
must be remembered that before taking it I was

to analyse the position of the feet

standing where, in the lunge, the right foot


the

ground, and facing to the

left,

so that

is

my

touching
left

side

would appear to the spectator. Fortunately, there is


an exceptionally fine Cinema Series No. 9, which will at
once clear away any confusion that may have been caused,
and it is only necessary to study this carefully to under142

CINExMA SERIES, No.

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

important that the line of the backward lunge should be

behind the right

directly

foot,

which, on completion of

the lunge, should be stretched to the utmost, and touching

only with the side of the big toe,

all

the weight having

been carried back simultaneously with the receding


foot.
As this most difficult movement becomes at
possible,

all

be found that any attempt to look round

will

it

left

on the backward lunge will immediately upset the balance.


Only by forcing the will to allow the fall back without
fear will the fourth position become possible, viz., that
of the reversed lunge.
Here, again, the turn of the body
is effected by the loose free swing of the arms from the
shoulder,

length

but

call these

this

this

**

made

body begins.

momentum

of

waist.

it

will

their

to

When

possible a careful analysis of

motive curves,"

curve

descend

curve they

and pass well below the

practice has

of

in

full

sufficient

what

may

be found that quite half

completed before any movement of the


But as soon as the half is finished, the

is

the

swing

comes against

the

resistance

and against this resistance the whole


body is swung swiftly round into the final obtuse angle
the
same moment that the left foot comes to
at
the ground as its new base.
From this position, a
of

the

shoulder,

recovery back to the right foot must be

any way altering the angle of the body.


by the usual spring from the
high

on

the

This

is

ball of the left foot,

extreme tension of the right


together

made without

toes,

leg, so

the

that

whole

in

effected

aided by

both feet

come

body stretched
143

THE RENAISSANCE OF THE GREEK IDEAL


and hands still clasped.
This position is shown on Plate LIV.^; and the final
one of all is a swift downward sweep of the hands, which
descend close to the body and to well below the waist
before they unclasp and separate in lateral curves to right
and left, stopping finally about eight or ten inches away
from the body, the fingers fully outstretched and tense,
and the palms facing backwards and slightly downwards.
Simultaneously with this downward sweep of the arms,
upwards, the arms

uplifted

still

which must be extremely


so

the

that

heels

are

rapid,

level

touching the ground, for


forward part as usual.

all

with

the

feet

although

the weight

are

not

lowered,
actually

must be on the

This simultaneous movement of

must be so swift and so exact that both


cease at the same instant, the heels being brought level
with the ground, on the principle of the steam hammer
hands and

feet

descending to within a

hair's

breadth of a watch-glass

There must be the same


arrestive force in the downward sweep of the arms as in
Plate LIV.^ gives this last
the lowering of the heels.
position of an extremely complicated sequence of move-

without actually

touching

ments, and

be a long while before repetitions of

exercise

it

will

become

possible.

it.

The

angle

at

which

being one of 45 degrees to the line of the


repetition begins by taking the

first

this

it

finishes,

start,

the next

step in the

same acute

angle, and ends at a right angle, beginning again in the

and ending in an obtuse, starting on the obtuse,


and ending on the half-circle, and so on with three more
right angle

reflex angles, until

144

the

original starting-point

is

reached.

EXERCISE V
To make

a complete series of repetitions, therefore,

the

and it will be very


of eight can be performed,

exercise has to be repeated eight times,

near perfection

when

the series

from a small chalk

starting

circle the size of a

quarter,

and, without lowering the eyes once, returning to


the

last

step

taken on to

the

mark

When

it

the

with
first

made, two should be the limit,


otherwise the student will become hopelessly mixed and
attempts

at repetitions are

neglect the necessary fine detail of the


effort

get

to

entirely

angles

the

secondary, and

correct.

it

performed sequence cannot


as the

whole secret

relation to

its

base

lies
if

will
fail

in the

movement

Direction,

in the

as aim,

is

be found that a perfectly


to register correct angles,

centre of gravity, and

its

the two remain vertically connected,

the angles will be found exact.

145

EXERCISE

THIS

VI

No. IV., is a test of extremely


difficult balance accompanied by comparatively
In this particular case, however,
easy movement.
the movement is forward instead of backward, which makes
exercise, like

the mental control easier, although the physical difficulties


are

much
From

greater than in

No. IV.

the Preliminary Position, take a fairly long step

back with the

left foot,

turning the body so that

a right angle to the original position, while the


is

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

and with the instep turned towards the left.


In taking the step back, the weight of the body must

touching,

travel

with

so

it,

the ground, the

over

directly

and keeping
being

raised

it,

it

that

left

the

moment

the

left

foot touches

knee should bend, with the weight

lowering the

body

five

or

six

inches

poised on the ball of the foot, the heel


full

inch

from

the

ground.

During

combined movements of body and feet, the


hands and arms remain exactly as in the Preliminary
Position, and when the body makes the acute angle turn
on the first backward step, the movement should be made
these

146

>
<

EXERCISE

VI
During the whole

from the hip and not from the waist.


arms and the

of this exercise, the

torso, together with the

head and the neck, remain perfectly rigid; rigid

in the true

word, that is to say, with their


positions unchanged.
Plate LV.^ gives the posense

technical
relative

the

of

backward lunge, the start having been


made on the left of the photograph with the body in
profile.
The accuracy of the poise on the left foot
must be tested by raising the right foot for an instant
sition

the

after

by a movement of the ankle alone, and

done

without

disturbing

the

in

The

now

exercise

degree

slightest

vertical line over the left foot, the balance

be
the

perfect.

is

body

consists in turning the

a fresh right angle to the

can

this

if

into

repeating this four times

left,

which brings the position back to


the original starting-point.
Each turn must be accomplished solely by a movement of the right leg and the
(including the

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,

in profile, the right

extended leg facing the spectator.

must now be shot out


right

while

touching

knee

side

at

drawing up

drawn close to it.


preparatory drawing up of the
right

which the body would be seen

right foot

The

foot.

without

left,

after

the

is

ground,

the

left

its

first

as

rapidly as

position,

The

possible,

which move-

ment must be accompanied by the equally rapid turn


147

THE RENAISSANCE OF THE GREEK IDEAL


of

the

foot

left

foot,

left

of

hip,

the weight

is

and

it

is

of

the

make
The

to

foot

passes

through the points of

only,

the

carrying

of

strain

concentrated on the extensor muscles of the


;

and the

tain rigid equilibrium in this position

therefore,

turn

movement

difficult

and the tendon Achilles

thigh,

This

left.

it

bending knee so that


shoulder,

the

would not appear so.


the body having been lowered by the

although

line

to

most

the

is

correctly,
vertical

also

added

to this a

effort

to

When,

extreme.

is

movement requiring

main-

the sudden

change of direction of the body while undergoing this


exceptional strain, without altering any one of the relative
In Exercise V.

positions, the difficulties will be obvious.

the initial

movement

of

the arms

was

which

that

started

body (with bent knee), revolving


on its pivot, a movement which, working as it did from
the more powerful leverage obtained by height, was able to
effect the turn of the whole body with literally no effort.
In the present case, the arms are rigid and immovable,
therefore the whole of the effort is confined to the muscles
of the foot, which must be so strong in Tension that they
the vertical line of

are able to

This

is

body

is

make

equally tense, in which case,

elasticity

quantity.

the turn even with the weight above them.

not only possible but quite simple

bered, there
the

the

is

no aggregate of weight
of the Tension keeping

Therefore,

the

movement

will

it

be remem-

any one point,

at

of

the whole

if

it

as

the

left

moving
foot

is

merely the signal for concerted action, and, like the flash
of

a chameleon's tongue, the


148

right

leg

shoots

out into

CINEMA

SERIES, No.

lo.

i.
JUtSmiiamt

iliMiMKSf^iS
Copyyigl.t.']

Exercise \'I. in Dclail.

4p

CINEMA

SERIES, No.

lo.

Copyright.]

Exercise VI. in Detail.

(contumccl).

EXERCISE
Tension, the

fullest

body

is

left

at a fresh angle,

VI

foot has

turned,

and the whole

without the alteration of a hair's

breadth in any of the relative positions.

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
;

outline traced by the curve of the leg


that
to

of an arc of a circle.

localise

the

movement

to

The

movement being

great difficulty will be

the right leg and

especially in the shooting out.

The body

is

left

foot,

bound

to

and the weight will sway to the


movement of the leg on account of the weakness of the
left knee when bent, unused, as all modern knees are, to
topple

over

at

first,

making any independent movement.


while before

it is

be a

long

able to hold the whole weight of the

body

It

will

immobile on the strength of its own particular muscles.


But when that is achieved, it is a beautiful movement
rapid and silent and definite, as each change shoots the

whole position into a fresh angle. And so on, till the


four are accomplished, and later on eight, or twelve, or
even more but this is a test for very perfect knee muscles,
and more than six rounds, viz., twenty-four changes,
;

should never

be attempted,

even

by the most perfectly

trained muscles.

The

from the left toes backwards, and upwards, which brings the body again into an
recovery

is

a light spring

erect position, with both feet pressed close together high

up on the toes. Again the cinematograph speaks clearer


than the most lucid explanation could ever do, and Cinema
149

THE RENAISSANCE OF THE GREEK IDEAL


No. 10

Series
vertical

is

worthy of the most careful study.

immobility of the torso

by the position of the head


line of a closed

From

is

in

window which

is

The

admirably demonstrated

connection with the side


seen in the background.

on to the last row but one, the


relative distance of the head from this line never changes,
although it must be remembered that the body has changed
the third row, right

into three different angles in this interval.

ISO

EXERCISE

THIS

exercise

is,

VII
an example of the

like the second,

triangle of forces, finishing in exactly the

position as Exercise
totally different
II.

way.

It will

although arrived

of the right leg

motive force of the sequence.

Exercise VII., the whole effort


this leg

movement

at in a

be remembered that in Exercise

backward and upward swing

the

to speak, the

up

II.,

same

is

until the last

is,

so

In the case of

concentrated on preventing

moment, when

the leg

flies

of itself irresistibly.

From

the Preliminary Position, raise the hands to the

position

first

clenched

fist

round

far

of

Exercise

II.,

viz.,

the

hand turned as
the elbow bent and kept

raised to the shoulder,

to the left as possible,

hand with

right

the

as closely to the waist as will allow the forearm to

nearly

vertical.

left

forearm

the

hand

is

Simultaneously with

this

remain

movement, the

brought across the waist in a horizontal

also clenched.

line,

In this position, and taking great

care not to disturb the shoulders, force

up the

right hip by

high as possible until only the


extreme point of the big toe touches the ground, keeping
lifting

the

right

heel

as

the knee absolutely straight, the whole leg tense and unbend*ing.

clear

The
on

details of this extraordinary position

Plate

LVI.'^

The extreme

limit

of

are quite

Tension

THE RENAISSANCE OF THE GREEK IDEAL


in the right leg can only be obtained by

bending the body

which must be done very slowly, keeping the


head vertical, so that, as the body bends over to the left and

to the

left,

head remains stationary, while the right

slightly forward, the

shoulder, by

means

of the

bending neck, gradually comes

quite close to the right cheek, not lifted specially, and above
all

not hunched up in any way, but brought near by the

lowering of the

The bend

left

of the

only, so that the

shoulder away from an immovable head.

body
left

to the left

must take place

at the waist

may remain

absolutely

leg, as base,

on the ground. It is most important


bending over of the body from the waist, there

vertical, the foot flat

that in this

should be only a very slight lean forward, the direction of

which the
bend when it

the bend being almost a right angle from that in

body
is

faces.

Plate LVI.^ shows this

about half completed.

Now

difficult to

moment when
leaning body make it

comes

the Tension plus the weight of the

side

the

keep the right toe on the ground, but

be done until the bend reaches the utmost

this

limit,

must

paying

out the weight and drawing out the muscles of the right

no longer, when in an instant the


body actually overbalances, and apparently the whole
position is lost
But no, it is just this overbalancing that
releases the tension on the right leg, and up it flies Hke a
willow branch that has been held down, just at the exact
moment when the poise seems irrevocable It is here
that the principle of the triangle of forces comes into
action, and the outward and upward swing of the right
leg counteracts the falling body by throwing out a weight
leg, until

it

can bear

152

it

>

w
<

>
w

EXERCISE
a

in

horizontal

reaction strong

line

enough

provided always there

muscle

through

at

VII

sufficient

to pull the

distance

body back

into balance,

that perfect connection

is

complete Tension.

very fine example of this poise, which

Plate
is

form a

to

of every

LVI.'^

is

extremely difficult

At the moment of this


re-established poise, the left hand is pulled round to the
left shoulder, drawing the body round in a rapid turn to
the left at the same moment the waist, with a quick little
twist to the right, readjusts the body squarely over the left
foot, which has acted as pivot in this movement, and will
now be at a right angle to its first direction, having spun
round on the toes. The twist of the waist is accompanied
by the inward turn of the right hip and consequently the
altered position of the whole leg, which is now turned so
to maintain for

any length of time.

that the sole of the foot

is

facing upwards.

exact position of the poise as


Plate LVII.

shows

it

shown

exactly as

noticed that the outline

is

it

blurred,

Here, then,

and

in Exercise II.,

took place.

and

the

is

this is

will

be

accounted

for

It

by the extreme rapidity with which the turning movement


has to be

my

made from

Although

the poise of Plate LVI.^

photographer wished to retouch the outlines,

preferred

untouched as is the case with all the photographs,


The recovery
that they might above all be absolutely true.
is naturally the same as that given in Exercise II., viz., by

to

keep

it

raising the

body and lowering the

right leg simultaneously,

without relaxing the Tension of the line formed


locking of the spine and the right leg.

no independent movement, but

is

by the

The head makes

carried into

the
153

right-

THE RENAISSANCE OF THE GREEK IDEAL


angle turn with the body, and

is

left free

squaring of the shoulders which

and erect by the

the result of the waist

is

After the final recovery on to the toes, the position

twist.

should

be maintained, as with

exercises,

all

long to make quite sure that the balance

This particular exercise

ments of the

sciatic

is

is

sufficiently

secure.

exceptional

muscle which occur

in

its

the

at

move-

moment

simultaneous twist to the right of the waist, and

of the

two movements combined place the muscles of the lumbar region


at their highest pitch of Tension, muscles which as a rule
are given little or no share in any exercise, but which in
this particular movement are called upon to bear the main
inward turn to the

of the right leg; these

left

responsibility of a perfect poise.

One moment

finds the

body bent sideways on fully-stretched abdominal and


muscles

the

next finds

it

presenting a

full

loin

face to the

which the side bend was made, the twist


having been made by the small of the back on a tense
direction

in

The importance,

pivot.

therefore, of

particular exer-

this

from a purely physical point of view is obvious, for


the large majority of men and women, especially women,
suffer from weakness in these particular muscles.
cise

As

the

Exercise

II.,

final

recovery

series,
this

pivot

repetitions

each

itself

154

made
the

of

ending

difference,

with

identical

that

of

photograph has not been given, and

a second

reference can easily be

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

changes direction, in the second


each

turn

being

alone, without
will

made by

the

change of place.

it

remains stationary,

movement of the foot


In Cinema Series No. 11

be found some fine positions, notably Nos. 13 and 15,

which have been enlarged

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

an acute angle, making a

a retrograde

apparent simplicity,

and ease which make

just this simplicity

is

it

its

seem

this,

each sequence ends

series of eight repetitions,

in itself trebles the difficulties,

and the movement

which

peculiarly continuous that the general impression of

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

the actual starting-point.

start

is,

and begins by

from the Preliminary Position,

as usual,

raising the hands as in Exercise

followed by a short step back with the

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

shoulders right round to the

the

the upper part

feet.

tense.

altering

arms and
the arms form a right
uplifted

This

is

movement

and hips, which twist the whole of


of the body to the left, without disturbing

waist

the position of the legs.

10

the

left until

angle to the direction of the

made by

Now, without

position.

feet,

and

straight

(See Plate LVIII.^)

When

the

>

w
<
P-i

EXERCISE

VIII

right-angle turn of the shoulders

is

completed, the move-

ment must be carried on without the least pause by the


right foot, which comes round and back in a sweeping
inward curve,

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

ground, the knee should bend, lowering the body about


the

should

foot

left

ground with the extreme point

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

step back, while the right foot

left,

details

Plate LVIII.'^ will,

The

first

and

the direction of

raised,

whole foot should be exactly the same

when having taken

toe,

in

are

an acute angle to
extremely

its

first

intricate,

but

hope, render them comprehensible.

must be given

to the study of the different

positions of the feet, as these are of the utmost importance.

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

which, on the upward swing, should

to the toes, with the

knee straightens up

come

reaching a

to the right foot,

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

close together in the effort to bring the

an erect

(See

157

THE RENAISSANCE OF THE GREEK IDEAL


the

must swing down

the arms

left leg,

counterbalance the leg movement to

movements

will

to the left side to

the

right.

These

be recognised as very similar to those of

and the recovery, as in the case of the first


exercise, is made by carrying the arms up to their first
position at the same moment that the left leg is lowered.
The final direction of feet and body will be into an
acute angle from the first line, and in this position lies the
difficulty of the repetitions.
It means the
complicated
mental performance of making a right angle turn from an
acute angle position, and it is quite useless to trust to the
Exercise

I.,

eyes to find land-marks.

which

will

be the

test of

It is

the feeling of the position

an accurate angle, and the whole

attention should be directed towards the perfection of each

which alone will give correct angles.


The most important thing in this exercise is to keep
This does not
the movement continuous and smooth.
apply to the repetitions only, but to every change of
detail,

position

in

the

single

sequence,

as,

for

example,

immediate carrying-on movement of the right

leg, as

the

soon

body has been turned into a right angle, the


immediate bend of the right knee as soon as the foot
touches the ground on its backward step, the immediate
upward swing of the left leg the moment the right knee
is bent, and the equally rapid lowering of the left leg as

as

the

soon as the horizontal


like a wave, rising
this

The

and

line has
falling,

been reached.

And

so on,

should be the movement of

apparently simple yet unaccountably difficult exercise.


torso
158

remains

throughout

vertical

and

practically

EXERCISE

VIII

immobile, except for the turn of the waist on the second

movement.
exercise

has

exceptionally
in

arriving

Unfortunately,

the

been mislaid,

but

full

at

Cinema
the

large

of detail that there will be


clear

of

Series
plates

no

are

this

so

difficulty

understanding of the changes of

There is, however, a Cinema Series representing


a combination of two exercises in which this fortunately
happens to be one.
In Cinema Series No. 15, therefore,
the first two rows and a half represent the whole of this
exercise before it merges into a second, and a reference to
position.

this

series

will

provide

all

the details necessary for the

single exercise.

159

EXERCISE IX

THIS

exercise needs great care, because, unless the

details

of each

change of position are followed

out accurately, the movements

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.

waist will have

But given the necessary caution, there

become

so

much

is

stronger that they will be

whole

movement, or, to be more accurate, share it with the knee


muscles, for the whole strain is concentrated on the inside
muscles of the knee and those of the diaphragm and waist:
quite ready to undertake the

sets of

muscles which are rarely

if

strain of this

ever called

upon

to play

a really important part in any of the usual exercises.

concentration of effort on two sets of muscles does

mean

that

no others share in the movement.

This
not

Ail are

vibrating with tense alertness in the effort to disperse the

two points of special strain,


and it would be impossible to achieve any sort of success
with this particular exercise unless the Tension were
weight

in order to relieve the

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

same moment the

makes

right foot

a long

lunge to the right side in such a manner as to lower the

body

or six inches on bent knees, the weight equally

five

divided between both

The

outwards.
vertical,

be

should

spine

kept

and the arms should hang

tense as to muscle,

side,

which should be well turned

feet,

shoulder

Plate

socket.

quite

straight

still

down

at

and
each

but quite loose and free at the

shows the position

LIX.'^

as

it

made the right-angle turn. The


go to make up this turn, the spin

should be after having


three

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

a turning in of the knees,

back the shoulders are able

to

lean,

and the

farther

the farther forward

must come the hips and the nearer together the knees.

The

hip

ward

movement forward

lean

distance

of

the

between

is

shoulders,

the

knees

to counterbalance the back-

and the narrowing

of the

what

would

is

to

avoid

on the groin muscles.


With the turning in of the knees comes a similar inward
lean of the feet until the outside edge of the sole is raised
quite clear from the ground, and all contact is on the
inside of the foot, as far as the ankle, which eventually
otherwise

be a

dangerous

strain

i6i

THE RENAISSANCE OF THE GREEK IDEAL


lies

and

over on the ground.


feet

This turning in of

unstretched

leaves

the

the

knees

abdominal and

groin

makes possible an extraordinary backward


lean on the strength of the diaphragm alone, and, what is
more, without the least strain, except indeed on the
inside muscles of the knee, which are stretched to their
utmost by the increase of the bend as the body is
lowered. Plate LIX.^ should now be studied, so that
the position of the head and the angle of the body may
be noted. Here it is wise to insert a caution against any
attempt to lean back before the knees are brought together,
for if this is tried, instantly a great strain and dragging
will be felt on the abdominal and groin muscles, which is
most harmful. No exercise that causes pain can be right.
Muscles which have been overstrained never reach their
full power of elasticity on the contrary, contraction and
muscles and

hardening
condition

the

is

known

In the case of
the knees relaxes
allows

direct

inevitable

among

reaction

athletes

of

as

overstrain,

" muscle-bound."

this

particular exercise, the turning in of

all

the abdominal and groin muscles, and

leverage

between the diaphragm and the

foot.

While m the position shown on Plate LIX.^, the


body should be swayed backwards and forwards, great
care being taken not to straighten the knees in any way,

but only to widen or close them according as the body

sways forward or backward

widening, of course, on the

forward movement, narrowing on the backward, quicker

and quicker
162

as the strain

becomes

less,

but never repeating

EXERCISE IX
more than
is

six

merely

times

at a

return

the

The forward movement

break.

the vertical, and

to

negative one in relation to the

first

therefore a

is

position.

hesitated a long while before adding Plate

LIX.^,

on account of the danger of premature attempts to arrive


at it, and I most strongly advise that it should be left
alone by all whose muscles are not in the very finest
condition.

might appear quite a simple matter


the knees in this position, and so it would
It

The knees

study the photograph.

have been lowered slowly,

they
inch
will

drop on

to
be.

to

But now

on the ground
until within an

are not
slowly,

even the calves of the legs are not touching, as


be seen by the

The

and the ground.


beauty of

it

faint

lies

in

effort

the

of

line
is

strong

light

between them

and the whole


muscular control that

terrific,

bend slowly, slowly, until they reach


to within a fraction of the ground, and then, as slowly,
rise again
that is the difficulty.
Going down is hard
enough look at the muscles of the neck standing out
through the jersey look at the diaphragm, it is Hke a
board and then picture the strength of the foot and
knee that are going to reverse that tremendous strain
without an interval, without any definite point of leverage.
It is the diaphragm that leads, and the feet and knees obey.
Perhaps, too, I have added this photograph from a
forces the knees to

little

what

when

feeling

even

of

conscious

pride

forty-seven-year-old

in

being able to prove

muscles

are

able

to

finely trained.
163

do

THE RENAISSANCE OF THE GREEK IDEAL


And now,

after

strengthening of

the

this

exercise,

evolved solely for the

diaphragm, another follows which

has been thought out with a view to suppling the same

muscle.

164

EXERCISE X

THIS

moving in two different


directions at the same moment.
It was done by the Egyptians and by the
Greeks, and later by the Parthians, who survive to this day
as a small clan in the heart of Thibet, where they were recently discovered by the French explorer, Mons. D'Ollon.

He

exercise consists in

how among this remnant


may still be seen men who run

describes

tribe

and shoot

another,

in

the Parthian

of
in

the origin of the

one direction
expression

"a

Parthian shaft."

In this exercise the whole body

is

braced into the

utmost Tension, and the upper and lower parts


against

each other, with

which each

From
step

half

may

turn in opposite directions.

forward with the


the

as

the Preliminary Position, begin by taking a short

whole weight on
off

diaphragm

the

work
an axis on
will

to

left

the

foot,

ball

ground, and only

of

the

bringing, as

usual, the

the foot, the


toes

of

the

heel
right

just

foot

touching the ground, the arms hanging straight and tense


at the sides,
with clenched fists.
Plate LX.^ shows

and while studying the photograph it must


be remembered that the actual advance is going to be

this position,

made towards

the spectator, while the incentive

movement,
i6s

THE RENAISSANCE OF THE GREEK IDEAL


may use such an expression, will be to right and
left.
As soon as the step is completed, swing the arms
round as far as possible to the left until they have made
if

the shoulders and the head complete a right-angle turn.

They

now be

will

facing

the

body

actual advance of the

direction

made.

to be

is

shows the position when the arms


round, and

are looking directly over the

ment
of

consists

the

direction,

while

foot with

all

toes

left

now

LX.''

been brought

have

left

The

hip.

next move-

complete swing round on the

in

foot,

left

Plate

be noticed that the face and shoulders

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

rapid turn of the feet will

bring the right hip to the front, and simultaneously

with the

leg

movement

opposite direction,

as

far

the
as

arms

arms swing

is

made

in

the

they can, to the right, to

prevent the shoulders from moving,


the swing of the hips

must swing
so

that

each time

directly to right or

in the opposite direction, while the

left,

the

head and

shoulders remain rigid, advancing always in the same line


of

Plate

sight.

movement.
the

for

spite

step,

from

of

which,

reversal of

the

black line behind the head was placed

showing how very slight is the


the body from the direct line of advance,

purpose

deviation of
in

The

LX.^ shows simply the


of

the lateral

movement

when completed,

of

the

represents

feet

with each

an advance of

These last two photographs were


taken without any interval between the two movements,
six to eight inches.

66

X
w
<

Ci.

EXERCISE X
except

necessary

that

raising

for

taking the

camera

the

preparatory

to

second,

so

they

sequential.

Throughout the whole

of

this

shutter

are

strictly

exercise, the

must remain braced into full tension, each step


being taken as one movement from hip to foot. Six or
knees

eight

steps

should

be the

limit

for

but eventually twenty-five or thirty

the

first

attempts,

may be done

without

strain.

A
with

careful study of the photographs should be

view to a thorough

made,

understanding of the foot

remembering that the ball of the forward foot


is the momentary pivot during the swing round, but that
the weight of the body comes instantly on to the other
foot, the moment it has been brought round to form the
positions,

new

pivot.

two exercises have been specially thought


connection with the diaphragm and waist muscles,

These
out in

last

and having

less variety of

probably prove

movement
and

movement than

less interesting.

there

is

will

On

the others will

the other hand, what

be found more

difficult

than any

for this

reason these two exercises have been

postponed

until the

muscles have reached that condition

of strength

and

other,

No
as they

taken,

elasticity

cinematographic

which makes them

possible.

series exists at present of the two,

were only thought out

after the others

and were unfortunately too

late to

had been

be included with

them.

167

EXERCISE XI

NOW

comes the most beautiful of all the exercises,


in which positions occur more striking and more
varied than in any other.
As there are manydetails which cannot be seen when doing the exercise in
profile, two series of photographs have been given in this
Besides these,
case one taken in profile and one full-face.
the cinema series gives all the intermediate changes.
;

From

the

Preliminary

forward on to the

whole weight over


stretched,

of

ball
it

Position,

take

short

step

the right foot, bringing the

in a vertical line, leaving the left leg

behind and

slightly to the left side, with only

the extreme tip of the big toe touching the ground.


the step forward

is

being taken, the right arm should be

raised simultaneously in a position of parry,


just

of

above the head and about

it,

As

five or six

the forearm

inches in front

the fingers tense and outstretched, the palm of the

hand turned outwards. Plate LXI."^ illustrates this first


position, in which the spring of the feet should be
specially noted.
The left arm should hang straight and
tense, well

From this
drop should be made on the

away from the

very rapid vertical


right

toes

until

the knee

horizontal and the


1

68

body

left

is

side.

so

position a
ball of the

bent that the thigh

actually sitting

on the

is

right heel.

PLATE

LXI.

Cofi\right.'\

Eiercise XI. (Profile View.)

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

required to enable the bend of

the

knee to be performed with the greatest rapidity without


disturbing in the slightest degree the vertical poise of the

The

body.

effort

is

divided between the muscles of the

diaphragm, knee, and

foot,

the

diaphragm maintaining

and foot lower the weight.


Simultaneously with this drop comes the bend of the
left knee in such a manner that the foot and knee lie
over on the inside close to the ground, although only
the

poise,

while the

the foot touches

it,

knee

the sole lying at right angles to the

ground, facing backwards.

bend the right


of parry to one of attack
the knees

close to the side,

The

The arms change position as


being brought down from that
;

the

fist

clenched, the elbow

but slightly in front of the waist

arm should reach well forward, nearly


and with open hand, to about ten inches

left

length,
left of,

but exactly level with, the right knee.

shov/s

this

this

position

movement

in

The

profile.

full

at

to the

LXI.^

Plate

great

line.

of

difficulty

consists in keeping the line of

body

the

absolutely vertical over the bending toes of the right foot

without once leaning forward


perfectly executed
at

right

right

angle

impossible
profile

it

will

angle to

the

to

the

during

the

but

if

be found that the right thigh


spine,

instep;

this

and the right toes


latter

detail

achievement for the untrained

view of

drop,

this position, the right foot

being

foot.
is

at

In

is

an
the

hidden, but
169

THE RENAISSANCE OF THE GREEK IDEAL


can be seen in the

it

full

(See Plate LXII.^)

view.

crouching position, the right knee should

this

to touch the ground, levered forward

right foot, a

still

now

on the

be

From
made

toes of the

greater test for the toe muscles

while

The

the torso remains absolutely motionless and vertical.

moment

should be brought forward, though not allowed to

knee for more than an

the

body
rest on

the knee touches, the whole weight of the

instant, but, passing 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

forward the right foot

and even the

left foot,

about ten inches,

is

which

will

secondary

On

support.

will

any weight,

have been drawn forward

be touching the ground with only

extreme point of the

the

entirely relieved of

toe,

the

so

that

it

forms quite a

completion of

reach forward, the right knee must be

this

same

lifted well off

the

same moment the left hand is


clenched and drawn right up to the left arm-pit, so that
the left elbow is bent to its limit and remains in vertical
ground, while

the

above the shoulder.

line
is

at

correct,

This

line should,

if

the position

be able to pass unbroken through the right

shoulder to the right hand.

The whole
the

left,

body should be facing


remain in exactly the same

of the front of the

while the right toes

spot through the whole exercise, although, as will be seen,

they

In

become

lifting

170

the

more bent over on the reach forward.


right knee off the ground as soon as the

still

EXERCISE
right

hand

is

placed as base, great care must be taken not

movement

to allow this

XI

to disturb

any of the other

relative

positions.

The
up

of

attempts nearly always produce a hunching

first

the

back because

hip-socket loose

but

way

leg need in no

this is free the

if

keeping the

of the difficulty of

movement

of the

LXI.^ shows
a very perfect example of move-

affect the spine.

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

the utmost Tension, and

which

is

it

is

just the tension

the key to what otherwise

of this leg

would be an impossible

balance.

After a moment's pause in this position, the recovery

begins by replacing the right knee on the

drawing up the

ground, and

and about four inches


to the left of it, at the same moment the body is
raised once more into a vertical Hne, while the arms hang
straight down at the sides, about ten inches away from the
body.

left

foot level with,

(See Plate LXI."^)

and the final


the left foot and rising

right knee,
it

to

descent was
first

The weight is now fully over the


movement consists in transferring

made

position,

forward.

The

in a vertical line, just as the

over the right, which brings back the

with

this

repetition

difference,

that

the

left

foot

is

may now begin by once more

bringing the right foot forward, with the uplifted arm, and
so on through six or eight of these beautiful sequences of
171

THE RENAISSANCE OF THE GREEK IDEAL


a rising and falling line
the

springs

swift,

knee and

of

smooth, and

foot,

position of the final recovery.

on

LXI.^ shows the

Plate

The

vertical,

fine full-view positions

of this exercise are very successful photographs

the

first

example of vibrating Tension in


the whole book, the feet seeming barely to touch the
is

probably the

ground.

This

finest

sequence

by Plates LXII.'^,

illustrated

is

LXII.^ LXII.^ LXII.^, and LXII.^


In the second position of

this full-view

carefully the angle of the left knee,

sequence, note

which

is

quite clear

of the ground.

Cinema
positions

of

No.

Series
this

12

exercise,

shows

especially

rapid drop of the body, where once

directly

carefully

behind

172

it.

the

intermediate

those taken in the

more

it

may be

seen that

same unwavering vertical line, if


with a little mark on the background

the head descends in the

compared

all

CINEMA

SERIES, No.

12.

mm

Copyrilil.

Exercise XI. ia Detail.

CINEMA

SERIES, No.

12

Copyright.-]

Exercise XI.

(continued).

iti

Detail.

EXERCISE

WE

come now
of mental

the

which the test


equal, and both

to the last exercise, in

and physical control

required at their

From

XII

is

maximum.

Preliminary Position, take a step forward

and bend over till the spine is horizontal,


stretching the arms behind, also horizontal, with clenched
fists, the face raised, with the Hne of sight still horizontal.
with the

left foot,

This movement

will bring the

of the left foot, the heel of

inch from the ground.

weight entirely over the

which must be

The

at least half

ball

an

right foot will be touching

with only the extreme point of the big toe, and

all

the

muscles up the back of the leg will be stretched to their

Care must

utmost by the bending forward of the body.


be taken not to

let

be impossible.

will

the head drop forward or the balance


Plate

which was unfortunately snapped


spine

reached

Series

No. 13 has some very

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,

long lunge back must be taken,


a

movement

back, the actual


It

is

fall

which

constitutes

being only saved

here that the will

is

at

the

put to such an
173

THE RENAISSANCE OF THE GREEK IDEAL


unusual

back

is

The

test.

instinct

so strong that

to

will

it

look round while

falling

be a long while before the

beginner can overcome the desire.

It

is

looking

just this

back which upsets the physical balance, a result right and


for, where hesitation and uncertainty
logical in principle
:

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

fear take hold of the will, the action that follows

leave

them facing

of the start.
right

in exactly the opposite direction to that

This turn

arm, which

is

is

aided by the

swung round

until

movement
the hand

with the right shoulder, the elbow bent to


fist

still

clenched.

should also bend,

The
but

left

in

arm during

its

of the
level

is

utmost, the

this

movement

an opposite direction, for

it

remains behind the back with the forearm lying horizontal,


and with the back of the clenched hand touching the

The right foot comes to the ground at


moment that the body makes the half-circle
body.

right

knee very

to the left (to


174

much

same

the
turn,

the

bent, the foot itself turning slightly

be exact,

it

should form an acute angle to

w
<:

EXERCISE

XII

the direction of the body), while the torso

facing

is

squarely in the opposite direction to that in which

The

same acute angle

hips should be facing the

foot, the shoulders alone

We

the

left

leg

left

the

weight

and

started.

it

as the right

having squared to the


with

full

half-circle.

body

the

of

At the moment of the turn, the


left foot should also turn on the heel to a right angle, and
as the right foot touches the ground the left drops over
on its inside line, so that the ankle is on the ground,
the knee bent, and lying over, the under side almost
touching the ground. The whole of this position will
rocking back upon

now be

it.

clearly understood

studied, as the photograph

whole weight
is

not

is

LXIII.^

Plate

is

carefully

shows admirably every

be noticed that the torso

It will

ever,

if

is

directly over the

on the ground, so

vertical,

and

detail.

that the

knee, which, how-

left

that the

knee constitutes

what one might call a suspended base, being directly


under the centre of gravity, but not needed, owing to

which form so strong a


the weight can, through their move-

the strength of the knee muscles,

point of leverage that

ment, be transferred instantly to either the right or


foot.

Having

left

arrived at this position, test the spring of

the knees by raising

and lowering the

strictly vertical line, the left

torso, always in a

knee rising about ten inches

above the ground, and descending to about one inch, but


never actually touching.
tests, as

This

is

one

the whole strain of the spring

the inside muscle of the

left

knee.

condition which enables you to

make

of the

great

movement

But,
this

if

knee

falls

on

you reach a

movement with
175

THE RENAISSANCE OF THE GREEK IDEAL


ease,

what wonderful

knees

you

will

have!

Priceless

springs of steel that feel no strain too great to bear; and


therefore this test of rising
will
least

and

on one

falling

set of

springs

produce a feeling of great exhilaration without the

Make

fatigue.

the

last

upward

with a strong spring back from the

rise

simultaneous

ball of the right foot

up of the left knee, and you will have


lifted your whole body into line once more, back on
to the left toes, drawing the right foot close to the left, the
arms still in the position shown in Plate LXIII.'^
The final movement is a lowering of the arms to
the sides, tense, and with outstretched fingers, while the
body remains on the ball of the toes, light and vibrating
Plate LXIII.^ gives the position just
from the spring.
before the arms are lowered, after which the final movement leaves the whole body in exactly the same position
as that in which it began these exercises.
To those who have been able to follow them through
to the end, working patiently for their perfect accomplishment, I would say what Nestor said to Atrides,
" Suppose thy nerves
endow'd with
in the
Iliad
strength superior,
King of men, command thou
and

a straightening

then thyself."

And

it

is

indeed a "strength superior"

and muscle trained to


understand the meaning of Tension the power of a full
and complete activity.
Cinema Series No. 13 will make clear any difficulty
which has not been explained, and an enlargement of
the twenty - second position has been added for the

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;;,^--

Excrcisc XII. in Detail.

CINEMA

SERIES, No.

14.

^> Mi^B^'
Copyyii:lil.\

Cdiiiliination of Exercises ^'I. niui \'II. in Dctai

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

many might have been shown, which

as

suit-

times

as

give endless variety

movement. But it would be impossible to give them


book, and it will be for the really keen
all in one
student to try and work out the various combinations
rendered possible by the twelve " basic " exercises. For
instance, try combining in one exercise Nos. 1 and 2
the result is beautiful though extremely difficult; but
you see where the one glides into the other? On the
horizontal lift of the left leg which occurs in the first
exercise.
Instead of bringing the leg to the ground
again, make it swing downwards past the right, and
back in a tense line to the left, turning the body to
the right when the swing is half completed, and pulling
round the right arm to the shoulder as in the backward
swing of Exercise II.
The position will then be that
of the horizontal poise, the two combined movements
having been executed on the ball of the right foot. Then
take Exercises VI. and VII. and make the Hnk always
This
on the middle poise of the first of the pair.
of

combination makes

and Cinema

Series

very

No. 14

fine
is

series

the

of

only

photographs,
explanation

intend to give of this puzzle, which will prove interesting

work out. Another combination is shown as Cinema


Series No. 15.
This is formed of Exercises VIII. and
IV., the order of numbering being the order of perform-

to

177

THE RENAISSANCE OF THE GREEK IDEAL


Cinema

ance.

and

shall

Series

remain

No. 16

so, as

it

is

is

a difficult puzzle-picture

formed of a combination

of

two exercises not given in the series of twelve, both of


which are more difficult than any yet explained. An
enlargement of the twenty-first position

is

an

given as

example of extraordinary poise, in which the horizontal


leg with

right

from an

effect

its

pointed toes has entirely disappeared,

of foreshortening.

This poise

is

interest-

ing from the fact that two violent changes of position


take place on the toes of the

on

left foot,

bending and straightening

right-angle

turns

This

movement immensely

latter

Some

knee.

increases the difficulty.

of the final positions are not good, those especially

on the last
very poor when compared with the same move-

showing the
turn are

ment
in

which make two

right

leg in a

horizontal

line

in other exercises, but the sustained

sequence of movement

this

achievement

if

it

succeeds

in

is

effort

of poise

such as to make

one

out

of

every

it

an

four.

Then, again, the sight of what not to do will be a great


help to beginners, and that dropping of the body when
in the horizontal line, down on the left hip, is a useful
object-lesson, as it is the immediate cause of the bending
and eventually

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.

important fact to be remembered, after having

acquired proficiency in these exercises,

demand

balance.

as a necessity a daily repetition.

is

that they

do not

CINEMA

SERIES, No.

15,

<-

Caii^EiS-

f.

ti'fT^

Cofiyrihl.\

Coiiihiiiation of Exercises V'lII.

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

These twelve exercises have been selected specially for


the purpose of making quite clear the fundamental principles of movement in general, and of balance under
Tension in particular; so that when this knowledge has
been acquired by practice, all the everyday movements of
life

afford complete exercise in themselves.

As

three

practised

some

as

far

possible,

the

basic

or four times a week.

be

should

exercises

Personally,

do

them every day, if only for a few minutes, for


the sake of the added lightness and exhilaration which
they always bring.
But I make no rule for others.
For those who have had the energy and determination
to work systematically through the whole series of twelve
of

exercises,

may

knowing

practice,

safely

leave

regulation

the

power and

that the

exercises themselves will exert their

of

further

fascination of the

own

influence,

when

once they have formed part of the daily routine during a


whole year.
This

chapter

explanatory

very dull

reading,

but

it

will,

fear,

have

proved

cannot be helped, for serious

and difficult work of this kind claims from both writer


and reader the utmost concentration, and the difficulties
confronting both in elucidating and apprehending its full

meaning

The
becomes

are enormous.
light

touch

possible

in print irrelevancy

in

and

viva

voce

distraction.

description

Too much

elaboration of details which in actual demonstration can

be seen

at

a glance, produces complication.

appears very cut-and-dried,

it

If,

then,

must be remembered
179

it

that

THE RENAISSANCE OF THE GREEK IDEAL


the aim has been for lucidity and conciseness at the sacrifice of all else,

idea of what the


of

lift

and

and

that the desire to render in

movements themselves

exhilaration,

are able to produce,

has been rigorously repressed for

the sake of those students

who

have the

purpose to struggle through the physical


end, and for

whom

phases of the

work

i8o'

words any

continuity of

difficulties to the

the clear separation of the different


is

the only chance of success.

INDEX
Aegina Pediment,

position of certain

Amazon

Browning, quotation from, 94

Buddha, poise

figures in, 3
Alchemy, secret code of, 62

Bull,

M.

27

of,

Lucien, 50

(Vatican, Rome), description


and explanation, 77 80

Apes: formation

of

feet,

movements

fication in

modi-

16;

Aphrodite (Villa Item), 84


Archer in Aegina Pediment: position
described, 3
5; position demonstrated as a possibility, 69, 70; represen-

tation in

movement,

Architecture:

Camilla of the Volscians, 65


Centre

of, 17

difficulty of,

9
basis of equilibrium in,

54; ideal of strength in, 36


on the senses, quoted,

Aristotle:

of

98;

with

by movement
movement, 34;

limbs,

41;

in

proper to a moving body, 40; where


placed, 29

Charioteer
tion, 70;

71;

energeia, 106

connection

gravity:

of

tension, 22; of curves

Rome),

(Capitol,

movement

of,

descrip-

demonstrated,

reference, 4

Chinese, design used by, to represent


Eternity, 52

Arm-swing, rapidity

Axis of balance, definition, 42

Chinese wrestling, 38 40
Concentration, type of, demanded for
performing sequential exercises, 91,

Balance: accuracy of,

93
Consciousness:

of, effect, 8

Athenians, wrestling contests

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,

of the nervous system, 33


Bats, sense of approach, vibration, loi

tinuous motor-existence, 95
Criminals, experiments on, 26

Body- weight:

Curves: as affected by the pivot, 43;


geometrical law in relation to, 41;

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,

mind, 104; development

of,

ance, 24, 26; tension of, 29; reaction


of, upon the spirit, 106; slackness
26

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

Greeks: condition of muscles of, connection between the diaphragm and


the mind recognized by, 104; early
11; formation of foot,

10,

II, 12; ideals of, as to highest develop-

103; muscular condition,


physical superiority, i; slimness

ment,

cause,

24;

as

spirit

2;

of

regarded

by, 105; wrestling, 37, 38

Haemon, on the phrenes, 104


Harmony, definitions, 54
Herakles, frieze representing the apo-

D'Ollon, M., 165

theosis of, 73

Heredity,

Egyptians, design used by, to represent Eternity,

52

Emerson, on the educated


96
Epictetus

vase

68

in,

Discus:

Rome), mistake

(Vatican,

boy,

Greek vases, exercises shown on,

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

Hindus, design used by, representing

on

quoted,

self-control,

Eternity, ancient symbol

of,

95

53

Eternity, 52
Colonel:

Hippisley,

gravity,

balance depending on formation of, 16; importance and care of,


34; diagrams of, before and after

Feet:

training,

13,

connection

14,

and

15;

between,

16,

17;

knees,
train-

ing of, II, 18


Fighting Theseus (Paris), position de-

and explained, 75
economy of: on what

48;

on the centre of

description

of

designs

by, showing figures produced by a


moving arm on a pivot travelling
elliptically,

43

Homer, "harmony," word

as defined

by, 54

Homer,
in,

Iliad,

will-power

alluded

quoted, 106^8; reference,

to

scribed

Force,

pends,

34;

resulting

movement, 54
Fortuna (Naples), poise

in

of,

it

de-

beauty of
described,

Infants, diaphragm movement of, 25


Institut Marey (Paris), experiments at,
71, 73

83, 84

Geometrical Movement,

see

ment, Geometrical
Greek dance, balance
shown by, 83

movement

182

Move-

James, William: on brain function,


quoted, 90; on concentration, quoted,
93

in

origin,
Japanese wrestling:
semblance to Greek, 38

38;

re-

INDEX
Jujutsu:

origin,

38; throws described,

38

P^STUM, Temple

of

Athena

Pallas

of

Neptune, 36
Aeginetan Pedi-

ment, description and explanation,


80, 81

Keats, quotation from, 113


Knees:
bracing of muscles

of,

effect on, of high-heeled shoes,

19;
17,

and

connection

between,

nastik

Pettigrew,

" Hellenika

Professor,

und Agonistik," by,

Gym-

referred

38

four directions

in

without moving the

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;

curves described by, 43


Poise, result

on

feet of perfect, 18

Preliminary position of exercises:


finition,

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

the word "hieros," 103


Sculpture, antique, principle of balance
in movement exemplified in, 68 ,
Self-consciousness

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.

tion of plates, 51, 52;

geo-

Training: anatomical knowledge not essential to, 88; origin, 36

Spartans, mimic battles

of,

tion, 88, 89; tension of, see

Optical Registration:

to

Geometri-

plates,

laws governing, 49; possible connection


of, with ancient symbolism, 62; symbolism

relation

in

movement, 50

Reflex Action of Physical Move-

Mental processes, chain of, 92


Mentally deficient children,

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

and explanakey to plates,

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-

with centre of gravity,

by means
by
physical and mental

22; increase of will-power


of, 97;

maximum

means

of,

processes

ant

94;

activity gained

connected by,

power of,
shown

tion of,

of,

support of body in, 30;


tension required in, 34
Weight-contact, 42
Will-power: control depending on, 91;
definitions, 97; depending on strength

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

Vibration, increasing receptivity and

184

effect

into Japan, 39; preparatory exercises


for, 38; by tripping, 38

Youth of Subiaco
resistance, 99

of,
on
and unconthe mother on the

106;

instinctive

of invention of, 37; introduction of,

Titian, 67

ing the sub-conscious

2;

child, 96; as recognised in

Wrestling:

99

at,

24

87;

the Fortuna, 83; vibration increased

by means

Waist, muscles controlling tension

(ascribed to Myron,
Rome), position described and explained, 76

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