Expressive Movement: The Twice-Dead Figure and Motion by Rank
A figure's gesture must reveal its state of mind and suit its age and dignity
A fair-copy text page, unillustrated, gathering four short chapters on expressive movement. A figure whose movement does not match the state of mind feigned in it betrays a painter of little judgment, and any motion appropriate to that state must be rendered with great promptness and fervor lest the figure be 'twice dead.' The motions and attitudes should signify nothing but the intended emotion, and they must vary in promptness and gravity with the age, vigor, and rank of the person, an old man or child moving less briskly than a grown youth, a king more gravely than a porter.
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Movement must match the figure's state of mind
A figure whose movement is not the companion of the state of mind feigned in it shows the members as disobedient to that figure's own judgment, and reveals the maker's judgment to be of little worth.
The twice-dead figure
The movement appropriate to a figure's state of mind must be made with great promptness, affection, and fervor; otherwise the figure is called twice dead, once because it is feigned, and again because it shows no motion of mind or body.
Gesture should signify nothing but the intended emotion
The motions and attitudes of figures should demonstrate the very state of mind of the person who makes them, in such a way that they can signify nothing else.
Motions vary with age, vigor, and rank
Proper motions differ in promptness and dignity with the age, vigor, and rank of the person: an old man or a child moves less briskly than a grown youth, and a king or dignitary must move with greater gravity and reverence than a porter.