Chirologia, or, The naturall language of the hand composed of the speaking motions, and discoursing gestures thereof : whereunto is added Chironomia, or, The art of manuall rhetoricke, consisting of the naturall expressions, digested by art in the hand, as the chiefest instrument of eloquence, by historicall manifesto's exemplified out of the authentique registers of common life and civill conversation : with types, or chyrograms, a long-wish'd for illustration of this argument / by J.B. ...

CHIRONOMIA: OR, THE ART OF Manuall Rhetoricke.

THE Clazomenian Sage (as Plu∣tarch reports of him) upon a curious speculation of the pro∣perties and motions of the Hand, as it were in an extasie of * 1.1 admiration, concluded Man to be the wisest of all creatures, because he had Hands, as if they were the spring and fountaine of all intellectuall and artificiall elegancies: which opinion of Anaxagor as, Galen with * 1.2 great elegancie and humanity, by way of inversion corrects, That because Man was the wisest of all creatures, therefore he had Hands, given him, the Hands being added, that as he was the most intelligent, so he might have fit organs to do and explain what his knowledge did inlight him unto; Art in the Hand being the same with Science in the Intellect; nor is the Genius of Na∣ture * 1.3 silent herein. Plutarch endeavours to give an Allegoricall interpretation of this saying of

Anaxagoras, Manus est causa sapienti••. Manus id est experientia, est causa sapientia. But in re∣gard * 1.4 of the Rhetoricall properties of the Hand, Man may well be called Chiresophus, id est, Manu sapiens, Hand-wise. Galen excellently observes * 1.5 Man to be armed by Nature with three weapons, Reason, the loud weapon of the Tongue, and the Hand, which may be gave the hint to the President of the Colledge of Critiques to make them all * 1.6 three Hands, in that golden saying of his, where∣in he subtilly sets forth the Rhetoricall force and dignity of the Hand, Ratio est manus intellectus, ra∣tionis oratio, orationis manus. Hence the Hand, the famous companion of Reason hath ever obtained the preheminence in gesture, and been the Do∣mius fac totum in all matters of corporeall elo∣quence, as appeares by the cleare testimony of the learned Sages, and the Chirogrophie of elder Time. Hippocrates calls the Hand, Optimum di∣cendi magistrum. The brother of Basil very copi∣ously * 1.7 sets out the Rhetoricall worth of this goodly Scepter and Caduceus of ingenuity. Rectè statuitur, manus esse proprium quoddam naturae lo∣quendi facultate praeditae instrumentum, hunc potissi∣mum ad finem effict as ut earum opere expiditior in no∣bis sermonis esset usus. Cassiodorus saw also the force of this Hand-maid of wisdome, and living * 1.8 implement of elocution, Manus singulariter da∣tae ad multas cogitationes nostras communitur ex∣plicandas. The younger Plinie would have this * 1.9 saying marked and registred, Recitantium propria pronunciationis adjumenta esse manus. And one taking his hint out of the Poesie of Homer, makes this honourable mention thereof,

Desectis manibus pereunt quo{que} Palladis artes.

Hence the Latines significantly call the Hand, * 1.10 Manum à manando quod hoc instrumento potissi∣mum actiones è nobis emanent. Therefore the * 1.11 Greeks for good cause seem to have called the Hands, 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 ab utilitate, for that they are not only assistant to eloquence, but doe incredibly conduce to all the offices of Rea∣son and Humanity. For it is the choisest Friend of Art, the Artificer of Elocution, the Brother of the phansie, and Remembrancer to her that dwells backwards in the high Towre of Pallas, the Bodies will and Intellect, the Gift, the wit, and ingenuity of the outer man, and the better Genius of the Microcosme: In which Minerva's darlings, the Phalanx of the Muses, and the Pierian Band, are trained & exercised as in a convenient Palestra or Gymansium. The Lo∣gisticall motions that appear in the Hands of Dis∣putants, as they demonstrate the large command of the signifying faculty of the Body which flows not only into the vocall organs, but proceeds so far, as to the Hands: so they significantly argue the Hand to be a peculiar instrument of reasonable nature, especially ordeined to set a glosse upon the vocal expressions of the mind. The Hand being a part so prompt & officious to afford the Tongue necessary aid, so powerfully inclined by its na∣turall gifts and abilities to bring reliefe to rea∣son, so apt and fit on all essayes to deale in mat∣ters of expression, and to affect the hearers mindes, that whereas Man by a happy endow∣ment of nature is allowed two instruments, Speech and a Hand, to bring his concealed thoughts unto light; the Tongue without the Hand can utter nothing but what will come forth

lame and impotent, whereas the Hand without the discourse of the Tongue, is of admirable and energeticall efficacie, and hath atchieved many notable things. All Histories abound with the exploits of the Hand, which hath performed and brought to passe more things by a significant si∣lence, then the Tongue hath ever done by an audible demonstration. Apollonius Tyaneus by * 1.12 his most famous example alone, shall serve to cleare this point, who when he had with an in∣credible religion observed the Pythagorean si∣lence, neither had suffered any word to fall from him during the space of five whole yeares; yet when he came into Cities labouring of sedition, 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 manu at{que} vultu sedabat dis∣cordias: After which manner hee travelled through Pamphylia, Cilicia, and other regions of the earth: For whatsoever is exprest by the Hand is so manifestly spoken, that men of the most obtuse understanding that are not able to con∣ceive of the words pronounced in an unknown Tongue, to whom an Oratours spent oyle is meerly lost, because their rich and elegant ex∣pressions in conceits transcend the pitch of their capacity: yet these may see and perceive the in∣tention of the Hand, which by gestures makes the inward motions of the minde most evident: for, all men (a thing nature hath so appointed) are stirred & moved by the same motives of the mind, and doe in others understand and take notice of the same moving demonstrations, by experience judging and approving in themselves those affe∣ctions that outwardly appeare to worke upon others. Hence the ingenious are forced to con∣fesse that all things are more expressive in the

Hand, as that which doth garnish the sense of words, and gives the shape, figure, and winning glory unto eloquence. This strengthens Speech with nerves, and the sinewed cords of twisted Reason. Speech divided from the Hand is un∣found, and brought into a poore and low condi∣tion, flags and creeps upon the ground. The babling Tongue (indeed) may have a long and spacious walke, and the full mouth may prate and run ore with large and loud impertinencies, but without the concurrence of the Hand, the mouth is but a running sore and hollow fist••••a of the minde, and all such ayery trash but the cracks of an uprofitable lip that wants the assi∣stance of those native Orators which were de∣signed to attend the perfect issue of a well deli∣vered cogitation: for what can we expect from that eloquence that neglects the motions of the Hand? or what can we conceive can be wrought out of that which is maimed and deformed, that should bee able to worke upon the affections? Whence a grave Father, an Author of Classicall authority (the high pitch of whose fancie some * 1.13 may chance to admire) borne on the rapture of his thought, run so high in his expressions, that he denies that man could have enjoyed the ho∣nour of an articulate voice, had not nature plan∣ted this magazine of Speech in the body, and sto∣red it with native ammunition for the defence and arming of orall reason. And verily if Man were disarmed of this native weapon, or organ intended for the speciall advancement of utte∣rance, wanting the subtle force of his Hand and Fingers, the expression of his Tongue would be very weake and unhewed; for the motions of

the Hand in pronunciation, doe much enrich and endeare the expressions of the Tongue, which without them would many times appeare very meane: And if we consider the orations yet remaining among the ruines of former ages which were publickly pronounced, wee may cease to admire the advantages they have had over others, or themselves only penned; so that we may not so much wonder how they having been armed by discourse and voyce (together with the emphatical assistance of the Hand) have produced such prodigious effects: For, these gracefull aids of Speech and advantages are so peculiar to pronunciation and the Hand, that the Pen or Preffe knoweth not what they mean. This * 1.14 is sufficiently confirmed by what Quintilian re∣ports of Hortensius, a long time Prince of Ora∣tors, afterwards Coevall and Competitour with Cicero, but alwayes accounted the second, whose writings notwithstanding were so short of that fame of his living eloquence of pronunciation, that it appeares there was somewhat in those O∣rations he pronounced which pleased very well, which they who came afterwards to read could not finde; the gifts of speaking and writing well, although compatible, yet not so inseparable that he who pretends to one, must necessarily bee possest of both. That Virgin Monarch, Queene Elizabeth of famous memory, whose Apo∣thegmes may passe among the Oracles of Royall Reason, and Civill Prudence, having heard, or rather seen a Sermon that was preached before Her with the advantage of pronunciation, was much affected and taken therewith, and having the same Sermon afterwards presented unto

Her, when She came to read it, and found not the insinuations of elocution and gesture, gave Her judgement of it, That it was one of the best Sermons She ever heard, and the worst she ever read.

Not only prophane, but sacred Authours have taken notice of this solemne bond and Rhetori∣call obligation between the Hand and the mouth, and have not only allowed the language of the Fingers by which the Ancients were wont to speake, but have likewise punctually set downe the office of these sides-men the Hands, and gravely noted their necessary imployment and concurrence to the more advantagious setting out of speech. Among the recorded advanta∣ges of gesture and Rhetoricall uniformity, the observation of Noverinus is not to be passed o∣ver * 1.15 in silence, whose ingenious animadversion it is, that the Septuagint in their version of the Proverbs, where Solomon bringeth in wisdome * 1.16 speaking; and where St. Hieroms translation, or the vulgar Latine hath it, Extendi manum meam, in the Septuagint translation it is 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 & extendebam sermones; for that speech may have life and efficacie in it, the Hands must goe out, and gesture must appeare to the eye that it may give evidence to both senses: And Solomon where he accuseth the sloathfull man for not * 1.17 bringing his Hand to his mouth, seems to have cast an eye upon the old Aegyptian symboll, and to have said, his Hands touch not his lips, his a∣ction agrees not with his voyce: For to this sense the Exposition of Saint Gregory may with little wresting be drawn, Manum ad os porrigere, est voci suae opera concordare; a good dependance &

necessary relation, the Hand is joyned to the lips, and the lips must be so knit and held with the Hands, that sometimes our very words and spee∣ches are turned into Hands, as the Septuagint in this place insinuate. And it is observable that the Spirit that is called the Finger of God, appeared under the form of fiery Tongues, a most excellent * 1.18 connexion land it may be not without a Rhetori∣call mystery of divine and powerfull elocution, the gift of speaking being granted hereby as well to the Hand as the Tongue, and a doore of utterance opened by the Spirit in both; no mar∣vell therefore that they of Listra seeing the chiefe Speaker of the Apostles speaking in the power of these Tongues, as this Finger gave him utterance, tooke Paul for Mercury their imagi∣nary * 1.19 god of eloquence. Since (therefore) the T••••gue is obliged to the Hand, it will become e∣legant Divines to be good at Action, bring thy Hand to thy Mouth, and tye thy Tongue to thy Finger, and thou hast a most perfect symboll of Rhetoricall heat and divine expression.

For the Hand of the Artificer the worke shall be commended; and the wise ruler of the people for his speech, saith the son of Syrach. It stands him in Hand therefore who would emblazon the * 1.20 armes of the Queen of the affections Eloquence, to use her owne pencill the Hand, of a most se∣cret property to quicken speech for where Elo∣quence swayes the Scepter, the graces of utte∣rance forsake their place and the feeblenesse of the proper forces of the Tongue are perceived, if they be not this way relieved by the Hand, by whose armes and allurements (as it were by main force) the ancient Orators have so often extorted

approbation from their auditors, and by this third supply of elegant deportment, invading the minde through the eye, with easie accesses put themselves into the possession of the people: And questionlesse those brave generous formes of discourse wherein Art hath beene married to a∣bundance, and richnesse of speech mixed with sweetnesse and majesty of action, wherewith those great and strange conceptions of the An∣cients have been so curiously limbed and plen∣tifully adorned and graced, are but too slenderly taken notice of in these times, the perfections whereof can be of no meane importance, when without the helpe of this great secret, neither or∣nament of Art, nor grace of Nature can be but in part pleasing, nor (as one well observes) shall all the reasons the Tongue can alledge, per∣swade * 1.21 a very woman, resolving to resist: For, the Hands are those common places and To∣piques of nature, which receive most of those extraordinary motions which appeare in Ora∣tions, the high excesse, Enthusiasmes, raptures, and commanding beauty of expressions are here found: For, although gesture naturally floweth out with the voyce, yet comelinesse and beauty are the decent issues of apt motion, which ap∣peare in a sweet delivery, anticipating the eare by the eye. And to speake seriously, this artifice of the Hand is no lesse necessary to excellent discourses and conceits, then discipline among Souldiers, without which courage is of no effect, and valour most commonly proveth unprofit∣able: They therefore, who in publicke, and be∣fore those who are versed in the Art of wel∣speaking fall short in Manuall performance,

suffering the glory of Eloquence to receive dise∣minution in their Hands; do no lesse then cast an aspersion upon the Art they professe, and abuse their hearers; since no speech ought to be pub∣lique if you intend to performe it negligently, and not to allow it all the ornaments whereof it is capable; for the polishing whereof wee need not go far, since the Hand is able to accommodate the Tongue in such occasions, as that which hath a greater variety of Synonymous expressions, and is able to outvie it in equivalent variations. This is sufficiently proved by the old emulation between that famous Oratour Cicero and Roscius the great▪ Master in the Art of Action; for it is certaine that most eminent Oratour would often contend and strive avie with Roscius whether he should more often expresse the same sentence in gesture; or whether he himselfe by the copi∣ousnesse of his cloquence in a differing speech and variety of expression pronounce the same; which raised Roscius to that height and perfecti∣on of knowledge, that he wrote a booke, where∣in he compared Eloquence with the Art or Sci∣ence of Stage-players: And indeed the fame and estimation of Roscius grew hereupon so great, that learned Ca••o made a question whe∣ther Cicero could write better then Roscius could speake and act; or Roscius speake and act better then Cicero write. Hence a certaine moderne Authour reckoning up nine kinde of wits usuall at this day, makes up his account thus: Im∣primis, * 1.22 a Simian or Apish wit; an Arcadian wit, an Autolican or embezled wit, a chance-medley wit, a smirke, quick and dextericall wit, and a Roscian wit, which is only in gesture, when

one can farre more wittily expresse a thing by a dumbe externall action, then by a lively inter∣nall invention, more by gestures then jests. This was in that Pantomimicall Roscius, who could vary a thing more by gestures then either Tully could by phrase, or he by his witty speeches. And as concerning such men wee may say of them as once Cicero said of Piso, They are wise only by signes. These Actors, the cunning coun∣terfeiters of mens manners, were called Panto∣mimi from their multivarious imitation, their fa∣culty, Ars gestitulatoria by the Romans, which one Teletes is said to have found out, or at least to have much amplified, who is reported to have been so excellent in this subtill artifice of his Hands, that he could expresse by them whatso∣ever * 1.23 could be spoken by word of mouth. And we read of a certaine Philosopher, one Memphis * 1.24 by name, a master in this faculty, whose excel∣lencie therein when the same Authour would signifie, Tacens (saith he) gestu omnia nobis mani∣festius indicabat, quam qui artem dicendi se docere profitentur, in the reigne of Domitian, Bathillus was famous for these measures of the Hand, con∣cerning whom the Satyrist:

Chironomon Ledam molli saltante Batillo. * 1.25

Saltationem manibus gesticulantis Ledae representan∣te mimo, as Farnaby upon the place. We read al∣so of one Mnestor a famous Pantomime, much * 1.26 affected by Caligula.

Cassidorus elegantly describing one of these Pantomimes, Tunc illa sensuum manus occulis ca∣norum carmen exponit, & per signa composita quasi quibusdam liter is, edocet intuent is aspectum, in illa{que} leguntur apicesrerum, & non scribendo facit quod

Scriptura deolaravit. Monstraletus in his Chro∣nicle makes mention of a company of these * 1.27 Chironomons, who before Trinity house in Pa∣ris represented the passion of our Saviour with∣out any words at all, but by the mystery of gesti∣culations of his Hands, all things being very ex∣actly and graphically acted by them. These Chi∣ronomons of old being sent for from the Theater to banquets, carved up foules and other viands to their Symphonies: To which Juvenal alludes,

Nec minimo sane discrimine refert * 1.28 Quo gestu lepores & quo gallina secetur.

Hence Petronius, Ad symphoniam gesticulatus lace∣rebat obsonia. And Juvenal: * 1.29

Structorem interea nequa indignatio desit Saltantem vide as & Chironomonta volanti Cultello.

Lipsius confounds these structores or carvers, * 1.30 with the Chironomonts. The scene of this Art (as is thought) lay first in Syracusa, and that these Chironomicall expressions sprang from the im∣mane cruelty of Hieron, the Tyrant of that City, who among other his barbarous edicts, prohibited the Syracusians all commerce of speech; and the vocall liberty of communication, comman∣ding them to call for their necessaries by nods and significant motions of their Hands, eye and feete, which soone necessitated them to fall into these dancing conferences and declarations of their mindes. The first man that usurped the name of Chironomon or Pantomime a∣mong the Romans, was Pylades when he came out of Asia: an Art which about the time of Nero was brought to that authority and per∣fection, that many Writers both Greeke and La∣tine

as a thing most wonderfull cried it up to the skies. Hence Demetrius the Cynique who lived in the time of Nero, seeing one of these Pan∣tomimi dancing the masque of Mars and Venus:

Vlderis ipsis manibus loqui: * 1.31 Or as Lucian hath it, Non agere, sed arguta manu effari.

And wee read of a certaine Prince who com∣ming out of Pontus about businesse to Nero, then resident at the head of the Roman Empire, when * 1.32 he together with others had seen this Chironomon dancing so conspicuously, that although he could not heare nor understand what was sung (for they were all semi-Grecians for language) yet they understood all things very perfectly: This Prince when he was to returne home, and Nero had invited him with much courtesie and love, and liberally bad him aske what he would at his Hands, promising him readily to grant his desire; Give me, quoth he, Roy all Sir, this Chironomer, and with this gift you shall highly pleasure me: Nero demanding what that fellow might ad∣vantage him in his affaires at home, I have quoth he (most sacred Emperour) many barbarous neighbours differing in language, to understand whom, I need a great number of Interpreters, which are not easie to be had; therefore when I shall stand in need of an Interpretour, this man by significant motions of his Hands shall inter∣pret all things unto me. And concerning these artfull gestures of the Hand, and loquacity of the Fingers, we must understand many passages of the ancient Poets, and Philosophers. Thus is * 1.33 that of Claudian to be understood:

Qui nutu manibus{que} loquax.

And that of Sydovins Apollinaris:

Clausis faucibus & loquente gestu.

To this also belongs that of Petronius: * 1.34

Puer manu loquaci.

And what another speaking of this Art hath: * 1.35

Egressus scoenam populum Saltator adorat Solerti pendet prodere verba manu. Pugnat, ludit, amat, bacchatur, vertitur, adstat, Illustrat verum cuneta decore replet. Tot linguae quot membra viro, mirabilis est ars Quae facit articulos voce silente loqui.

The Poet here saith very aptly, Articulos loqui, for that these Pantomimi did not only delight in gestures of the Hand, but more especially in mo∣tions of the Fingers. Theoricus King of Italy called this, Musicam mutam, still musicke, quae ore * 1.36 clauso manibus loquitur, & quibusdam gesticulatio∣nibus facit id intelligi, quod vix narrante lingua, aut scripturae textu posset agnosci. To this appertains * 1.37 that of St. Cyprian, Vir ultra mulierum molliciom dissolutus, cui ars sit verba manibus expedire. And that of Seneca, Mirare solemus scoenae peritos, quod in omnem significationem rerum & affectuum parata * 1.38 illorum est manus, & verborum velocitarem gestus assequitur. But of all that have touched at this * 1.39 Art, most wittily Cassiodorus, Hic sunt additae Or∣chestarum loquacissim•••• manus, linguosi digiti, silenti∣um clamosum, expositio tacita, quam musa polyhymnia reperisse narratur, ostendexs homines posse, & sine oris affatu, suum velle declarare. And indeed the Prince of Roman Poets where he handles the names & * 1.40 inventions of the nine Muses, ascribes the fin∣ding out of this kind of utterance to Polyhymnia.

Signat cuncta manu loquitur Polyhymnia gestu.

The learned observation of these premises made

the ancient Masters of the ••ieroglyphiques who * 1.41 used to decypher a distinct and articulate voyce by a Tongue, adde a Hand comprehending the same, to note out eloquence, by that conceit im∣plying, that speech stood in need of that moist organ the Tongue, but pronunciation required a Hand, to wit, an artificiall helpe to set it off, and make it beautifull to the eye. And the first inven∣ter * 1.42 of the Art of Logique, to note the moods and brevity of argumentation, exhibited Logique by a Hand comprest into a Fist, and Rhetoricke by an open and dilated Hand, which is but pug∣nus expansus. Analogicall to this, is that symboll of the Cynique, Manus non sunt proferendae com∣plicatae * 1.43 confusis digitis, which insinuates that speech should not be perplext in the delivery, but should be open plaine and free, for then speech labours of a blinde crampe, when it is too con∣cise, confused or obscure. Hence Phisiogno∣mers according to their rule ad apparentiaem, infer such men to be full of words whose manners and common use it is to hold the Hand spread out with the Fingers. ☜These Hand Critiques observing the apparent manners of men, say, That he who customarily useth much action of his Hand, in his talke, is a faire speaker, and neat in his language. And that ancient Interpretour of dreames, in his Allegoricall inferences, makes the Hand to signi∣fie * 1.44 reason, understanding, speech and languages, which as it were by the conduct of letters, or rather an opportune speech, declares the tacit affections of the minde. Ribera ob∣serves, * 1.45 that the Hand in Scripture doth not only signifie the divine suggestions of Prophesie, but also all kinde of speech, especially wherein there

is any thing commanded: and he addes the rea∣son,. Quia sicut manns movet, it a movet locutio praecipiens. The reasons why grave Antiquity did render and understand all kinde of speech and language (as Pierius notes) by a Hand, are, for that the moving and significant extention of the * 1.46 Hand is knowne to be so absolutely pertinent to speech, that we together with a speech expect the due motion of the Hand to explaine, direct, enforce, apply, apparrell, & to beautifie the words men utter, which would prove naked, unlesse the cloathing Hands doe neatly move to adorne and hide their nakednesse, with their comely and mi∣nisteriall parts of speech: And words would have but a cold lodging in the eares of the audi∣tors, if the Hand should not be the Harbinger of the Tongue, to provide and prepare the eye for their better entertainment; for as words paint out the image of the minde: So these suffragans of speech by a lively sense afford that shadow which is the excellencie of the vocall pourtrai∣cture. Since as these gestures of the Hand alone, and by themselves doe speak and shew the men∣tall springs from whence they naturally arise; so invited by Art to the aid of Eloquence, they be∣come the Accessories and faire spoken Adjuncts of speech. Hence the first Artificers of Manuall Rhetoricke, hit on the right veine of Oratorie, when conducted by a learned curiosity of wit they tooke in hand that polite device, and ele∣gant design of reducing the usuall gestures of Na∣ture into strict rules of Art, preparing the undi∣gested motions of Nature, and making them more formall, and fit for the intention of Rhe∣toricke, whose life and force they made much to

consist in the just demeanour of the Hand, whose motions appeare as emphaticall to the eye, as speech doth to the eare, two ports of sense, through which all passions finde an entrance to ceaze upon the minde. And hence such Orators have ever won the prise, and have had their Hands crowned with the Olympique palme of Eloquence, who have excelled in the subtill notions of this Art; who conceiving Rheto∣ricke to consist most in a decent motion of the body, bestowed well neare as much paines to adapt their gestures to Rhetoricall significations, as in the elegant disposing of their choice flowers; the Hands so surpassing in dignity all the other corporall adjutants of mans wit, that there can bee no eloquence without them. And they perceiving that action 〈◊〉〈◊〉 most sway with the people, who most commonly are led by sense, which is moved by some adequate object; that without the true knowledge of this secret of Art, none could be accounted in the number of good Oratours, & that a mean Oratour instru∣cted in this knacke of action, did oft excell the most eminent; they bent their whole endeavours for the attaining this quality. Demosthenes who deserves the sirname of Chirocrates for his active judgement in these Rhetoricall endeavours, he was wont to compose the action and gesture of his body by a great looking-glasse, and for fur∣ther acquaintance with this faculty, he entertain∣ned Andronicus the Stage-player, by whom be∣ing instructed in this Art after he had reformed the defect that was before in his Orations for want of Action, he grew very famous for Elo∣quence; insomuch that Aeschines the Oratour

who in a discontent left Athens, and came to keep a Schoole at Rhodes, and begun to teach the Art of Rhetorique, when he otherwhiles read * 1.47 unto the Rhedians (and that with action and gesture) the Oration he had pronounced against Ctesiphon: when all the hearers marveiled there∣at, and namely, how possibly he could be cast, if he acted such an Oration: You would never wonder at the matter (quoth he) my Masters of * 1.48 Rhodes, if you had been in place, and heard De∣mosthenes, and seen the vigorous sharpnesse of his eyes, the terrible weight of his countenance, a sweet voyce accommodated to every word, and the efficacious motions of his Hand and body. This Art was generally practised by all the emi∣nent Oratours of Athens, unlesse perchance in that sad and solemne Session of the Areopagites, where when they were to speak without affecti∣on, in an obscure and darke place, there was no cause why they should use the motiōs of the hand

Among the Romane Oratours, Cicero to this intent made use of Roscius the Comoedi∣an, and Aesope the Tragaedian, in his time the Masters of this kind of learning, who was wont to call Roscius for his great skill in these subtle∣ties of the Hand, Delicias suas, his Darling: and upon a time, in a most eloquent Oration, he re∣buked the people of Rome, because while Roscius was acting, they made a noyse. What an apt Scholler he proved, and what his opinion was of this Art, appeares by his book de Oratore, where∣in he so highly extolls Action, the practice whereof help'd to intitle him to the principality of Eloquence. Plutarch relating the force of Cicero's eloquence, by reason of the sweet grace

of his pronunciation, reports him in his Oration * 1.49 pro Ligario, so marveilously to have moved Cae∣sar, [one that could well skill in Manuall Rhe∣torique] that he changed divers colours, and shewed plainly by his countenance, that there was a marveilous alteration in all the parts of him. For, in the end, when he came to touch the battaile of Pharsalia, then was Caesar so troubled, that his body shooke withall, and be∣sides, certaine bookes which he had, fell out of his hands, and he was driven against his will to set Ligarius at libertie. Therefore the malice of Antonie forced teares and lamentations into the * 1.50 eyes of the Romans, when they saw Cicero's Right Hand, the instrument of his divine Elo∣quence, with which he penn'd and pronounced the Phillippiques, nail'd fast unto his head, and set upon the Rostrum or Pulpit of Common pleas in the Forum. Cn. Lentulus also, for his excel∣lencie in this Art, was more famous then for his vocall eloquence. C. Lentulus, P. Lentulus, C. Gracchus, L. Apuleius Saturnius, Crassus, and C. Julius Caesar, were men expert in this mysterie. Antonius, he used the Asiatique phrase in his plea∣dings, which carried the best grace and estima∣tion at that time, full of ostentation and bravery of gesture. As for Q. Pompeius, sirnamed Bithy∣nicus, C. Macer, Manilius Sura, &c. they lost the estimation of good Oratours, for their defici∣encie in this Art. But above all, most actively eloquent was Q. Hortensius the Oratour; one could not tell whether they should most desire to run to heare, or see him speake: his presence and aspect did so a dorne and become his words, and assist his periods to accomplish all their

numbers; and againe, his verball expressions were so conformable to his gesture, and so ele∣gantly * 1.51 administred unto his hand, that for cer∣taine, Aesop and Roscius, two famous Actors of those times, were often observ'd to croud into the Assembly when he was pleading, that they might by imitation transferre some of his expres∣sive * 1.52 gestures from the Forum to the Theater. Some Lawyers and Divines I have observed to have been very prevalent by virtue of this arti∣fice of the Hand, even in these times: among whom, most eminent was that much lamented Dr. Donne; of whom an ingenious friend thus in his Elegiack knell:

Yet have I seen thee in the Pulpit stand, * 1.53 Where one might take notes from thy look & hand. And from thy speaking action beare away More Sermon then some Teachers use to say. Such was thy cariage, and thy gesture such, As could devide the heart, and conscience touch: Thy motion did confute, and one might see An error vanquish'd by deliverie.

Such (as Sconerus notes) was the action of the Prophets and Ecclesiasticall Oratours in the Primitive times, plainly Heroique, as may be col∣lected out of Sacred Writ, and some Commen∣tators thereon, in whom the Eloquence of the Prophets is graphically described.

Nature exhorts all men to Action consentane∣ous to the stile of their Elocution: which inbred and commodious propensitie, unlesse illustrated by Art, and confirmed by exercitation, is, as Tra∣pezuntius notes, but as a field untill'd, which runs

wild with disorder'd productions. Art being the Imitator which perfects Nature, makes her actiōs more dilucid, illustrious and sweet, by her positive accommodations. For whatsoever Nature doth institute in the individuals worthy observation, reduced into one exact idea, built upon generall precepts, by a perpetuall order, Art doth expose under one aspect of the Understanding: And Nature againe placed by Art, beholds the excel∣lent actions of eminent men, and expresses them by a happy exercitation. Wherefore the ancient Rhetoricians, who cast their eyes upon Nature, and insisted in her steps, whose Art was princi∣pally bent to imitate the severall actions of the Mind with a decent and comely grace; admit∣ted no gesture to the hand, but what they did find by an accurate collation to have some similitude with the truth of Nature. That which Philostratus Junior requires of a Painter, who would be emi∣nent * 1.54 by his Hand, is more necessary to an Ora∣tour. He would have him that would seeme to manage that Art skilfully, to be a man endued with a good fancy and a sound judgement, a∣ctively apt to every thing, and industrious in the observing of mens natures, and assimilating their manners, and counterfeiting of all things which in the gesture and composition of the body, are the signes and notes of the tacite mind and affections. And indeed, then shall the hand of an eloquent man move aptly, and as to the purpose applyed to expresse what he takes in hand, when he hath converst with Nature, and insinuated himselfe into all the veines of the af∣fections of the Hand, & by diligent study hath at∣tained to an exquisite experience in the proper∣ties

of the fingers, and what the naturall motions of the Hand are wont to be. Hence Philosophers, who can discern of the naturall causes of things, have a notable advantage: for he shall most ele∣gantly & judiciously manage his Hand, & mode∣rate the gestures thereof, who by the discipline of Philosophie shall apply and conforme himselfe neerest to the nature & varietie of the affections.

Hence Demosthenes, being demanded the que∣stion, Which was the first point of Eloquence? * 1.55 he answered, Action: Which the second? He answered, Action: and which was the third, he said, Action, still. Wherefore in the Olympian Games, at that famous assembly of Greece, that Theater of Honour, where the Arts, wisdome, and the illustrious Vertues were recompenced with publique honours; there, in the sight of the * 1.56 people of Greece, after the sound of a Trumpet, wherewith the mindes of the standers by were rowzed up to attend the solemne commendati∣on of the publique Cryer; the Hands were first crowned, before the Head, as S. Chrysostome ad∣vertiseth * 1.57 us. For when the Brabutia, which were most skilfull Judges, would declare, that all the glory of the Victors did proceed from the Hand or Action; and that in the first place, In∣dustry, labour, and skill were crowned by them; not the shoulders of the triumphant Olympia∣niceans, but their Hands were decked and prai∣sed with the glorious Palm. Skilfully therefore S. * 1.58 Ambrose: Palma manus victricis ornatus est. And Victorie is called, Dea palmaris: and victoriosus, with Isidor, is palmosus. But why the Palme was given to them that overcame, and why the boughes thereof have been proposed as rewards

to such as were victorious in Artes or Armes, according to that of the Poet: * 1.59

————Palma{que} nobilis, Terrarum dominos evehit ad deos.

There are who alleadge this reason: For that the fruit of the Palme doth resemble the Hand and fingers, and are thereof by the Greekes na∣med dactili, that is, digiti, fingers: for, the great * 1.60 ends of the branches appeare like hands stretch∣ed forth, and the dates as fingers. It seemed therefore right, the Palm should be given to them whose Hands were skilfull in Arts, and Fingers cunning in battail; since the chief weight & illu∣strious honour of all triumphs depend upon the hand or action, or as if the fruit of the Palm were peace. And Tullie, when he had unfolded all the * 1.61 ornaments of a costly and copious eloquence, he casts up all in the summary of these grave words: Sed haec omnia perinde sunt ut agūtur: implying, that without a pleasing and opportune Action, all the other aydes of Speech would become vaine and unprofitable. Talaeus is in the right, where he saith, that many Infants by the dignity of Acti∣on, * 1.62 have often reap'd the fruit of Eloquence; while many eloquent men through the deformity of gesture, have been accounted very babies in Expression. For whereas Nature assignes to each motion of the Minde its proper gesture, countenance, and tone, whereby it is signifi∣cantly exprest; this grace of Gesture is concei∣ved to be the most elegant and expressive virtue of the three; install'd by Plato among the Civill virtues, as the speech and native eloquence of the Body; for that those Elegant conceptions that inrich the pregnant Mind, incite the minde

by some stratagem of wit, to finde out apt and fit expressions: and while she labours to be free in powring out her hidden treasures, she im∣prints upon the body the active hints of her most generous conceits, darting her rayes into the body, as light hath its emanation from the Sun: which eloquent impressions, a kinde of speech most consonant to the minde, are in the moving of the Hand so neatly wrought and emphatically produced, that the Hand many times seemes to have conceived the thought. He therefore that would purchase the repute of an accomplish'd Rhetorician, must pursue the knowledge of this Art, which consists in understanding the lawfull garbe and ordered motions of the Hand, the most puissant Agent of the soule, and which hath by some been called Mens corporis, or the Minde of the Body; the voyce of Philosophie admonishing in Epictetus, no lesse to be minded by a Rheto∣rician then a Philosopher:

Ne digitum quidem temerè extendere.

Some notions of this Manuall Rhetorique are * 1.63 derived from the Heroique ages of the world, and were approved and allowed of by So••••ates. Yet in the dayes of Aristotle were not delivered by any, as digested into any forme of Art, which had been a Subject worthy of his pen: but, in Chirologicis dormivit Aristoteles. The Art was first formed by Rhetoricians; afterwards ampli∣fied by Poets and cunning Motists, skilfull in the pourtraicture of mute poesie: but most strangely inlarged by Actors, the ingenious counterseiters of mens manners. The first Romane Oratour that collected these Rhetoricall motions of the Hand into an Art, translating so much from the

Theater to the Forum, as stood with the gravity of an Oratour, was surely Quintilian, unto whose * 1.64 curious observation in the Hand, I referre those who out of curiositie desire to be more punctu∣ally informed in these most subtle and abstruce notions of the Hand, which they may also finde recited in Vosoius his Rhetorique, a mysterie in great request with the ancient Sophisters and Rhetoricians, and properly handled by them, although some not well advised, would have them considered in the Aethiques: for there is distinction to be made between that which Mo∣ralists call Actionem moratam or civitem, and Ora∣toriam, which the Greekes call Hypocris••n, and Quintil. Chiromomiam, which are accōmodated to move the affections of the Auditors. And indeed the gestu••••s of Rhetoricall utterance doe pre∣suppose the Aethique precepts and the lawes of civill conversation. The Ancients, especially the Grecians, were men ever very inventive of such subtleties, had a Palestra, or place of exercise for this purpose. Talaeus preferres these Canonicall gestures before the artifice of the Voyce, although his Commentator will allow the preheminence of this Art only among Nati∣ons * 1.65 of divers tongues, and not where the assem∣bly is of one lip. Keckerman gives the voyce the dignity of precedence for our times: but he is no better than a precision in Rhetorique, of whose conceit let the learned judge, since he confesseth the Jesuites (known to be the greatest proficients in Rhetorique of our times) instruct their disciples after this manner. And how won∣derfully they have improved and polished this kind of ancient Learning, appeares sufficiently

by the Labours of three eminent in this facultie: Cresollius de gestu Oratoris, Voellus de arte di∣cendi, and Causinus de Eloquentia. Alstedius * 1.66 could wish we had some booke of the Pronunci∣ation of the Ancients, that we might take out of it such gestures as did square with our times: such a Booke as Laertius praises. And Schonerus wishes for Types and Chirograms, whereby this * 1.67 Art might be better illustrated then by words. Which defect in this Art I have here attempted to supply (and as I hope) with reasonable suc∣cesse. If I have miscarried in any, it is the more pardonable, since in all my search after these sub∣tleties of the Hand, I never met with any Rheto∣rician or other, that had picturd out one of these Rhetoricall expressions of the Hands and fin∣gers; or met with any Philologer that could exactly satisfie me in the ancient Rhetoricall po∣stures of Quintilian. Franciscus Junius in his late Translation of his Pictura veterum, having given the best proofe of his skill in such Antiquities, by a verball explanation thereof. That which inabled me to advance so farre in this Art, is the insight I have purchased in the ground-work or foundation of all Rhetoricall pronunciation, to wit, the Naturall Expressions of the Hand.

THE CANONS OF RHETORICIANS TOUCHING The Artificiall managing of the HAND in Speaking. With an Historicall Manifesto, ex∣emplifying the Rhetoricall Actions thereof.

Canon I.

THe Hand lightly o∣pened, timorously displayed before the breast, and let fall by short turnes under the hea∣ving

shoulders, is an humble and neat action, becomming those who daunted and dismaid, begin to speak as if their tongue were afraid to encounter with the publicke eare; and such who shunning a profuse excesse of words, would sparingly ex∣presse their Mindes, or asswage and mitigate the censorious ex∣pectation of their Auditours, by an ingenious insinuation of a diminutive Action.

Quintilian thinks that Demosthenes in that low∣ly * 1.68 and fearfull Oration for Ctesiphon, began with his Hand composed after this manner: And that Ciero's Hand was formed to this composition of gesture in the beginning of his Oration; for Archias the Poet, when he said, Si quid est in me ••••genii (judices) quod s••ntio quam sit exiguum.

Canon II.

THe stretching forth of the Hand is the forme of plea∣ding,

and hath a secret helpe and preparative to ready spea∣king, and commendeth an A∣pology or any set speech to the Auditours.

In the memorialls of Antiquity, in the writings of the old Annales, the lineaments of Pictures, and ancient Statues, we shall finde this postute of preparation in the Hands of famous Oratours. Aristides reports, that Prince of Oratours, M••l∣tiades * 1.69 to have been so painted in Grece to the e∣ternall monument of his memory, stretching out his Right Hand only, as he was wont most honou∣rably to speake unto his people. Phillip that e∣loquent * 1.70 man, was wont to say, that he did so rise up to speake that hee knew not his first word, yet he said he used to speake excellently well, when he had once warmed his Arme. And Marcellinus observing the demeanour of Valin∣tinian about to make a publicke speech, when he had put forth his Hand (saith he) that he might speake more readily. That divine Oratour and chief Speaker of the Apostles, used this Action as a preparative to his ensuing Apologie: for when Agrippa had permitted Paul to speake for him∣selfe, Paul stretched out the Hand, and answe∣red for himselfe. This forme of pleading is to be seene in the ancient Statues of Roman Ad∣vocates.

Canon III.

THE indulgent putting forth of the Hand towards the Auditours, signifying a kinde of Humdnity, and good will, is a benevolent action, fit for those who praise or congratulate, and is of great efficacie to move the affections.

This Action had a singular grace and comeli∣nesse in Meletius, that reverend Bishop of Anti∣och, a man invironed with a guard of all the Vertues, with which Action of his Hand; as with the engine of good will, he seemed to lift up the hearts of his hearers with him; therefore Gregory Nyssen attributes to him, Com••m dextram & veluti lenocinio orationis perfusam, qua 〈◊〉〈◊〉 cum * 1.71 or is facundia digites commovere soleat.

Canon IV.

THe gentle and wel-orde∣red Hand, throwne forth by a moderate projection, the Fingers unfolding themselves

in the motion, and the shoul∣ders a little slackned, affords a fa∣miliar force to any plaine con∣tinued speech or uniforme dis∣course; and much graceth any matter that requires to be hand∣led with a more lofty stile, which we would faine fully present in a more gorgeous excesse of words.

The comelinesse of this Action (which best suites with them who remove & shift their stan∣ding) appears herein, that by this emanation of the Arm, and delivery of gesture, speech is so well pronounced and powred forth, that it seems to flow out of the Hand.

Canon V.

THE Hand directed to∣wards the Auditours, with a kinde of impetuous agita∣tion of the Arme, maintaining its gravity with a swift recourse,

is an action 〈…〉〈…〉 of vehemencie, fit to 〈◊〉〈◊〉, de∣nounce, reprehend, and 〈◊〉〈◊〉, and by its extension, implies po∣wer, and a prevalent authority.

This Action is not seasonable untill an Oration begin to wax hot and prevalent, and the discour∣sing appetite of the Hand: be rowsed up, and well heated by a Rhetoricall provocation, and is sufficiently affected to move according to the nimble contention of the Tongue. And then this glittering dart of speech, like lightning, or the shaking of Apollo's beams, expatiates it selfe into a glorious latitude of elocution: The Ora∣tion with this militarie gesture, as it were, pow∣ring out it selfe. The left arme (if any thing is to be done with it) is to be raised, that it may make as it were a right angle.

Canon VI.

THe Hand restrained and kept in, is an argument of modesty, and frugall pronunciati∣on, a still and quiet action, su∣table to a milde and remisse de∣clamation.

This Action with Tully, is Molli brachio ageres with Fabius, M••lli articulo: Gladiatorem vehement is impetus, adversarii, mollis articulus excepit. And in the Primitive times of elocution, when elo∣quence began to flowre and bud, and insolencie was rarely entertained. Oratours were wont to keep their Hands within their cloaks, for so, as Aeschines will have it, those ancient Oratours, * 1.72 Princes of Greece, in most account, both for their language and judgement (Pericles and Themi∣stocles) were wont to declame; as an action most sutable to conserve their modesty. And he fet∣cheth his argument of so laudable a custome from the statue of Solon, which the ancient Statu∣aries, skilfull in the counterfeiting mens maners made for Solon at Salamina, in this posture to note his moderation and modesty; with which signi∣fication there was the like statue long after his time erected at Rome for Scipio. And verily Aeschines who approved of this posture of the Hand as an Index of moderation, he observed it himselfe even in the heat of reprehension and re∣proofe; but this animadversion of Aeschines who spitefully carped at the important gestures of the Hand, the Oratour Demostheues did after∣wards most elegantly deride and explode; for that statue of Solon, saith he, the Salaminians say was not dedicated above fifty yeares agoe: But from Solon to this present time are two hundred and forty yeares, so that the work-man who ex∣pressed that gesture, no not his grandfather, were then alive. But it cannot be denied that such a thing might be with the Ancients, which Aes∣chines knew rather by conjecture, then any cer∣taine assurance: For we read of one Polemon a

deboyse young man, who upon hearing of Xeno∣crates, became modest, and drew his Hand with∣in * 1.73 his cloake. And the gravest Writers report of Cleon that turbulent Oratour of Athens, to have * 1.74 been the first that opened his cloake in spea∣king. This rationall conceit prevailed also with the Romans, for although in the ancient statnes of Lawyers in Rome, we finde the Right Hand put forth, the forme of pleading: yet the first year they were called to the Bar, they were not to put forth the Hand, nor a young Advocate per∣mitted to plead after the same manner as an anci∣ent Practitioner. Cicero hath left a certificate of this custome, Nobis olim annus erat unus ad co∣hibendum * 1.75 brachium constitutus, ut exercitatione lu∣do{que} campestri Tunicati uterentur; which garbe of the restrained Hand, as it is an argument of frugall pronunciation, the great Prelates of Rome ob∣serve at this day when they speake before the * 1.76 Pope, as that great Master of the Hierogly∣phiques testifies. But when wit which lay a∣sleep in those rude and simple times, began to be rowzed up and instructed with Arts, those streights of bashfulnesse were inlarged, the Hand released and set at liberty, and a more freer course of pleading brought in, not that modesty should be excluded mens manners, which is a great ornament of life; but that speech might have a greater force to worke upon the affecti∣ons of men. Now, to use this fearfull demeanour of the Hand, were the part of one void of com∣mon sense and humanity; against whom that of Quintilian might be brought, who reprehended * 1.77 those who in pleading inhibited the Hand, as if the businesse were done sluggishly.

Canon VII.

THe Hand put forth and rai∣sed aloft, is an action of congratulatory exclamation and amplification of joy.

This is drawn from Nature into the Schooles and discipline of Rhetoricians, who prescribe * 1.78 this free and liberall motion of the Hand, as a fit periphr••sis of gesture upon such occasions, and most consonant to the intention of Nature.

Canon VIII.

THe Hand collected, the Fin∣gers looking downewards, then turned and resolved, is a set form accommodated to their intention who would openly produce their reasons.

The artificiall conceit of this Action is, that it seems as it were indeed to bring forth with it, some hidden matter to make the argument in Hand more Rhetorically apparent.

Canon IX.

THe hollow Hand raised a∣bove the shoulder with

some kinde of grave motion of the wrest, doth cheere, exhort, embolden and encourage.

Canon X.

THe palme (the Fingers all joyned together) turn'd up, and by the return of the wrest, in one motion, spread and tur∣ned about with the Hand, is an action convenient for admira∣tion.

Canon XI.

THe Hand (the Fingers all joyned at their tops) refer∣red to the vocall passage of the minde, doth lightly admire; and fits their occasion who in the in∣terim are moved with sudden indignation, and in the end fall to deprecate, amazed with fear.

Canon XII.

THe turned up Hand, (the Thumbe bent in, and the other Fingers remisse) transfer∣red to the Northern side of our body, and then prone to our South side, so, lightly waved to and fro••, doth very aptly distin∣guish contraries, and may sh••w the variety of numbers.

Canon XIII.

THE hand after one sort is not still disposed to aske a questi∣on; yet commonly when wee demand, however it be compo∣sed, we use to change or turne our hand, raising it a little up∣wards.

Canon XIV.

THE hand erected, and then so moved, that the inside is tur∣nedout,

is a sensible Action that apparently presents the least di∣sparity or difference.

Canon. XV.

THE Hand that by alternate motions contracts and un∣folds it selfe, doth aid them in their pronunciation who are ve∣ry instant to urge a thing.

Canon XVI.

THE turning of the Hand may serve to signifie an easie dex∣terity of performance.

This is a magistrall notion raised upon this principle, that the Hand is so borne to Action, and so prompt to expedite all accounts of significati∣on, that nothing seems more easie then the mo∣tion of the Hand. Hence the Greeks very inge∣niously call that which is proclive and easie to be done 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, as if it were no more difficult then to stir the Hand; for the ancient Greeks call the Hands 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉. Hence Manus non verterim, the Adage, pro eo, quod est, nihil omnino laboro, a forme of speech used by Apuleius. The Carthagi∣nian Ambassadour used this adjunct of demon∣stration * 1.79

to Andromachus at the City Tauromeni∣on, for in his bold speech wherein he threatned in the name of the Carthaginians, to make quick dispatch to the overthrow of Tauromenion, he shewed first the palme of his Hand, then the back of his Hand, threatning him that his City should be so turned over-hand, if he did not quickly send * 1.80 away the Corinthians: Andromachus turning his Hand up and downe as the Ambassadour had done, bad him be going, and that with speed, out of his City, if he would not see the keele of his Gally turned upwards. This Action as it is ex∣pressive to the easinesse of performance, is Ca∣nonicall enough, but as a demonstration of the Cities or Gallyes overthrow, it is Apochryphall.

Canon XVII.

THE Hand brought to the sto∣macke, and spread gently thereon, is a gesture of Rheto∣ricall asseveration.

But whether it be convenient to touch the breast with the Hand; the sonnes of Rhetoricians have made enquiry in their learned Disputati∣ons: Some would have the Hand to be onely turned, and so referred to the Breast: Others say, we may touch the Breast with our Fingers ends; both, in the opinion of Cresollius may bee done without reprehension, when we speake any thing concerning our selves, and that our speech glydes with a calme and gentle streame. But the touch doth most availe in a sharpe and inflamed

stile, when the motions of the minde are by A∣ction unfolded: As when an Oratour would ex∣presse an incredible ardour of love lodged in his bosome, and cleaving to his very marrow; or griefe deeply setled in his yearning bowells; in signifying these and such like affections, none can rebuke an Oratour if he shaltouch his Breast with his Fingers ends only. Cresollius makes little doubt, but Tully used this gesture, when he said, * 1.81 miserum me, &c. for in such occasions, the splen∣dour of pronunciation is lacking, neither have words sufficient force to make the minde altoge∣ther intelligible, unlesse the Hand be brought to the Breast.

Canon XVIII.

THE shewing forth of the Hand, or beckning with the same, are Rhetorically sig∣nificant to speake to, call after, invite, bring in, and warne to come.

Tullie, in the Epilogue of his Oration for Plan∣cius, * 1.82 which did abound and overflow with la∣mentation, very commodiously explain'd him∣selfe by this Rhetoricall compellation, where with most excellent artifice he call'd Plancius, and bids him come unto him, that he might touch and imbrace him. Cresollius rather prefers the first action to the Hand of an Oratour, and would * 1.83

have invitations signified by putting forth the Hand onely, without any waving motion; for, that Beckning with the Hand, in his judgement, is the propertie of an unskilfull multitude, and of men of small account, who want gravitie and moderation; who doe not onely induce and ap∣ply their bent-in-Hand to this perswasive behavi∣our, but doe also revoke and bow back their whole body, and wind and wrest about their very sides: Who though he doe not forbid or repudiate this calling gesture of the Hand alone, yet if the body be drawne in withall, he would have it referr'd to the Stage, and to places of common resort.

Canon XIX.

THe Hand rais'd & stretched out with the arme, or the Hand waved towards the audi∣tors, are advātageous actions for them who would imply a gene∣rous confidence, and their autho∣ritie and abilitie to effect a thing: it serves also to call for, and de∣mand silence, and for the prologue to an act of pacification.

This Canon is grounded upon the Axiome in Nature, That there does appeare in the Hand

as 'twere a Naturall marke of the Majestie and Authoritie of Man. Hence Ovid, in this Rhetori∣call sense, attributing a Majesticall Gravity to the Hand of Jupiter,

—qui postquam voce manu{que} Murmura compressit, tenuere silentia cuncti, * 1.84 Substitit & clamor, pressus gravitate regentis.

And Statius speaking of the action of Jupiters Hand in a Councell of the gods, advanc'd to the same purpose:

—veniam don•••• pater ipse sedendi Tranquilla jubet esse man••—* 1.85

Hence Aelian of Jul. Aug.

Manu semper cos placare cuperet. * 1.86

But though the Hand onely put forth, and ad∣vanced with authoritie, is of force to asswage tumults, and procure audience, (as Domitian in Statius) Dextra [vetat pugnas]—Yet if a certaine kinde of motion be there withall exhibi∣ted, it will be of more force and dignitie; which 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 or 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, words which the Greekes use in this case, doe import. Herodians phrase is, 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, the proper word in this businesse is 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉: the Greekes also say, * 1.87 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉: with Greg. Nyss. 'tis 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉: others 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, some also, 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, almost in the same sense, al∣though this last, seems to signifie something lesse, onely the lifting up of the Hand. Verily, Cor∣nutus upon Perseus grants as much: Magna (saith he) & profutura hominibus locuturi [tacere * 1.88 jubent] moventes manum. See the Naturall ge∣stures, Gest. XVI. for examples of Oratours using this Action.

Canon XX.

THE Hand propellent to the left-ward, the left shoulder brought forward, the Head inclined to the South∣ward of the Body, is an action accommodated to aversation, execration, and negation.

Canon XXI.

TO shake the Hand, with bended browes, doth ab∣horre, deny, dislike, refuse, and disallow.

Canon XXII.

The hand resilient or leape∣ing back to the * 1.89 North∣ward of the Body, whence it did descend, makes an action fit to abominate, and to accom∣pany words of refusall or dislike, and may serve also in point of admiration.

Canon XXIII.

THe Hand with a gentle percussion, now grea∣ter, now lesse; now flat, now sharpe, according to the diver∣sitie of the affections, is fitted to distinguish the Comma's & brea∣thing parts of a sentence.

Canon XXIV.

BY his Hand referr'd unto him, an Oratour may shew himselfe, when he speakes any thing concerning himselfe.

Caesar used this patheticall demonstration of himselfe, when one accused Brutus unto him, * 1.90 and bad him beware of him: What, said he a∣gaine, clapping his Hand on his breast; Thinke ye that Brutus will not tarry till this Body dies?

Canon XXV.

The Hand bent into a fist, and the Pulpit or Barre strooke therewith, is an action of Rhe∣toricall heate, and very artifici∣ally

accompanies Anger, and a more vehement contention.

Canon XXVI.

The palm strook upon a book, (held usually in the left hand of an Orator) doth serve to ex∣cite and rowze up the Auditours.

This action is commonly used by our Moderne Oratours, and hath succeeded in the place of smiting upon the thigh, which cannot well be performed in our deep and little pulpits.

Canon XXVII.

TO clap the hand suddenly upon the breast, is an acti∣of increpation, proper in their hands, who would arrest their speech, and non-suit it by silence, and by a carefull stop restraine their tongue, and call back as it were their reprehended words, & put in a Rhetoricall Demur,

or crosse bill against their owne Declaration.

To this Action, that of Homer appertaines:

Pectore autem percusso, [animum increpuit] * 1.91 sermone.

Canon XXVIII

THe Hand brought unto the stomack, & in a remisse garb spread thereon, doth conscienci∣ously assevere, & becomes them who affirme any thing of them∣selves.

Canon XXIX.

THE Breast stricken with the Hand, is an action of Griefe, sorrow, repentance, and indigna∣tion.

This is a very patheticall motion in Nature, & Rhetorical in Art; and action in use with the anci∣ent Oratours, and with a profitable signification practised by the Jesuits; who are wont, not only with a light approach to touch the Breast, but sometimes also to beat upon it with the Hand; which they doe, for the most part, to testifie anguish of minde, repentance, and matters of

Mortification; which they acte and perso∣nate with such substantiall abundance of speech, with such motion of the body, and such immi∣nent gesture, that while they beat their Breasts, they raise oftentimes great motions in the minds of their Auditors, and religious teares are drawne from the eyes of many. Which Rheto∣ricall action of the Hand is not alwaies (to an inch) framed by the precepts of Rhetoricians, nor by line and levell fitted to the rule of Art, nor weighed, as 'twere, in the Goldsmiths bal∣lance; for they who assume this gesture, strike their breast with an audible stroake, when they judge it fit for their purpose; although some, who are more studious of eloquence, doe not heartily admit of this loud contact of the Hand; who with a peaceable meeknesse bringing the quiet Hand unto the breast, by the forcible at∣chievements of that pronunciation, procure a dreadfull influence to fall upon their Auditory. But in a Senate of the Learned, and a solemne Assembly of venerable personages, a vehement percussion of the breast is not convenient; but is to be remitted to the Theater, lest (as my Au∣thor * 1.92 saith) some Stripling in Eloquence, should tacitely throw at them that out of the Comoe∣die; * 1.93

Hic pectus digitis pultat, cor credo evoca∣turus foras.

Canon XXX.

THE Forehead stricken with the Hand, is an action of dolour, shame, and admiration.

Quintilian grants this to have been used by some turbulent Oratours in their pleadings, even * 1.94 in his time, and very availeable with them, who by a popular ostentation of Eloquence, hunted after the applause of the people. His words are these: Jam collidere manus, terrae pedem incutere; fe∣mur, pectus, frontem caedere, mire ad [pullatū circulū] faciunt. Yet Oratours of very good esteeme, by their practice commended the use and significa∣tion of this gesture; but in Epilogue onely, and a certaine fiery amplification; when for the moving of passion, these tragicall expressions of the Hand are held comely and convenient. A gesture with the Greekes and Latines of equall use and signification, as farre as our understanding can light us to the knowledge of those Rhetoricall ornaments of Expression, in fashion with the Ancients. And it was wont to attend upon three causes; to Dolour, Shame, and Admiration. In great griefe, they thought it of old a very expres∣sive demeanour of the Hand. Cicero commen∣deth it in Brutus. Dionysius Halicarnassensis ac∣knowledgeth * 1.95 the use of this gesture: Percutientes frontes, & aspectus tristes prae se ferentes. Cicero insinuates as much to his friend: Puto te [ingemu∣isse] ut frontem ferias. Livie calls this affection of the Hand, Capitis offensationem: [Flere] omnes & offensare capita. With Q. Curtius, it is, Os converberare: Is tum [flere] caepit, & os converbe∣rare; [moestus] non ob suam vicem, &c. In Apu∣leius the gesture stands thus, Dextra saevi••nte fron∣tem replaudere. The Greeks say 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, and 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, and 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉. Hence Heliodorus of his old man, Cum feriisset frontem & coll••crumasset. And Liba∣nius

of the Persian King, Caput identidem percuti∣ens deplorat: And we read it to have been the forme of lamentation used by the Spartans at their funeralls. But of this dolorons adjunct of discontent, and angry symptome of grieved nature, Tullie in a kinde of medley of naturall invasions, and Rhetoricall impressions of the Hand upon * 1.96 the assailed Body, makes this rehearsall: Mul••∣••bres lac••rationes g••narum Pectoris, feminum, capi∣tis percussio. That this gesture was used in signi∣fication of shame, S. Chrysostome declares, who when he had upon a time, with an incredible force of utterance, rehearsed divers impious and * 1.97 ridiculous superstitions observed by some of the people, he made the whole multitude of his au∣ditors ashamed. Of whose shame he puts down three visible arguments, in words sounding to this effect: Vultum operuistis, Frontem percussistis, & ad terram inclinastis. This 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 in another place hee expresseth in his owne * 1.98 language thus: 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉. That it was significant in wonder and admiration, appeares by Nonnus a great Poet, who attributes this gesture * 1.99 to admiration, in his paraphrase of the sacred Hi∣storie of S. John; where, of Nathanael, wondring at the doctrine of our Saviour:

〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉. Prae admiratione Frontem divina manu feriens.

Hannibal used this adjunct of expression as a stra∣tagem, at the battaile of Ca••nes: who when Giscon, a man of like state and nobilitie with himself••, told him that the enemies seemed afar off to be a great number; Hannibal [rubbing his * 1.100 forehead] answered him: Yea, said he, but there is another thing more to be wondred at then you

thinke of, Giscon. Giscon straight asked, What? Mary, saith he, this; That of all the great num∣ber of Souldiers you see yonder, there is not a man of them called Giscon, as you are. This merry answer, delivered contrary to their expectation that were with him, looking for some great weighty matter [sutable to his gesture] made them all laugh a good.

This gesture, although it was with these sen∣ses admitted the hands of the Ancients, yet it appeares to Cresollius in the possibilitie of a doubt, whether or no it can now with any ad∣vantage * 1.101 be done, it being little used by Advo∣cates, and the more judicious sort of men, that speake in publique; unlesse perchance by such who are of a more hot complexion, and are apt to boyle over with a sudden motion, whose cho∣ler in the seething, bubbles into action; for men of this temper, soone moved, as having a naturall inclination to anger, in the vehement fervencie of passion, hastily and swiftly with the Hand touch the forehead or cap: which action, be∣cause there manifestly appeares in it the virtuall effect and commotion of Nature, it commonly escapes the lash of reprehension. But faintly and childishly apply'd, and sav••ring more of School∣artifice then the intentionall operation of Nature, it is condemned as feigned and adulterate; for which reason, my Author concurres in opinion with Quintilian, and adjudgeth it worthy of banishment from the Hand of an Oratour, and * 1.102 to bee consined to the Theater, and the ri∣diculous Hands of Mimicks. Unlesse it seeme good to any to reserve it as a relique of Divine Courtship, which they report the Polo••ians to

doe, who in their Churches at their holy myste∣ries, are wont to beat their fore-heads with the Hand.

Canon XXXI.

THe Thigh smitten with the Hand, was the gesture of one pleading more vehemently, of one grieved and fuming with indignation, of one taking notice of an others errour, or confessing himselfe deceived.

Tullie believed that action of an Oratour * 1.103 feighned, who in some grievous matter deser∣ving the sharpest hate and heaviest indignation, did not use this expression; for he calls Callidius a cold and dull Oratour, and argues his guilt from hence, that in his Oration, Ne{que} frons percussa fo∣ret nec femur. The first Oratour that used this ge∣sture, * 1.104 by the testimony of the old Annales, was Cleon, who when he pleaded in Athens, that fa∣mous mansion of the Muses, transported with a certaine vehemencie, and provocation of spirit, and moved with indignation, smote his thigh, which when he had vented with other such like signes of a fierce and turbulent disposition, many wise men thought him to have thrust all decorum and ••••••••ible moderation out of the Pulpit: This, many afterwards did imitate, at the first thought ill of for the novelty, but in the use of common life

very frequent. This gesture prudently, and with good advice exhibited, hath a cunning force to amplifie and enlarge a thing, and to shake and asto∣nish the minds of the Auditours. Scopelianus a man of greatest account for eloquence, as Philostratus hath delivered it to posterity, that he might * 1.105 rowze up himselfe and his Auditours, now and then used this patheticall demeanour of the Hand: This, as it was oftentimes necessary in the Forum, so very fecible in those large pewes, where those that were retained in causes did plead: but in our times, and the manner of plea∣ding which we now use, it is neither so frequent, neither can it so commodiously be done: But a∣nother thing hath succeeded in the room there∣of, which the writings of the Ancients are si∣lent in; for the Advocates eagerly beat the Bar with their Hands, and sometimes so madly and importunately, that the standers by heartily wish their Hands qualified with some Chiragracall prohibition. This blemish and infirmity of the Hand, hath crept also into holy places, and there are many Preachers found, who with an incon∣siderate rashnesse shake the innocent Pulpit, while they wax warme, and conceive a vehe∣ment action to excell. This action as it is least unseemly when the wicked deceits and notori∣ous dishonesties of men are called in question, so used without judgement, it argues a turbulent and furious motion of a vaine minde, and dulls the Auditours.

Canon XXXII.

THe left hand thrust forth with the Palme turned

backward, the left shoulder raised, so that it may aptly con∣sent with the head bearing to the Right Hand, agrees with their intention who refuse, ab∣hor, detest, or abominate some ex∣ecrable thing, against which their mindes are bent as a di∣stastefull object, which they would seem to chase away, and repell.

With this Action these, and things of the like nature, are to be pronounced:

Haud equidem tali me dignor honore, —Dii talem terris avertite postem!

Canon XXXIII.

THe left hand explained into a Palme, obtaines a forme of perspicuity.

These two last Canons are exceptions against the generall maxime of Quintil. Manus sinistra nunquam sola gestum facit.

Canon XXXIV

BOth the turned out Palmes bent to the left side, is a more passionate forme of dete∣station, as being a redoubled action.

Canon XXXV.

BOth Hands objected with the Palmes adverse, is a fore-right adjunct of pronunci∣ation, fit to helpe the utterance of words comming out in dete∣station, despite and exprobration.

Canon XXXVI

BOth Hands extended forth, the Palmes driving out to both sides, doubles the Action to all the same intents and pur∣poses of aversenesse.

Canon XXXVII

BOth Hands clasped and wrung together, is an Acti∣on convenient to manifest griefe and sorrow.

Canon XXXVIII.

BOth Hands dejected, make supplication more Canoni∣call.

Canon XXXIX.

BOth Hands a little or farre dis-joyned, shew the man∣ner and abundance.

Canon XL.

BOth Hands extended out forward together, is an A∣ction commodious for them who submit, invoke, doubt, speak to, accuse, or call by name, implore or attest.

With this Action are such as these to be set off to the best of utterance, Vos Albani Tumuli at{que}

Luci, vos, inquam, imploro at{que} obtestor! And that addubitation of Gracchus, Quo me miser conferam? * 1.106 quo vertam? in Capitoliumne? at fratri•• sanguine redundat, an domum? &c. The same emphasis of action is required to that of Cicero, Tu ex edito * 1.107 monte latialis Jupiter, cujus ille lucos, nemora, sines{que} saepe omni ne••ario stupro & scelere macularat.

Canon XLI.

BOth Hands lightly smitten together, is convenient e∣nough to expresse a certaine anxious and turbulent heat of co∣gitation of an Oratour, that can∣not sufficiently explaine his minde, or doe as he would.

Cresollius conceives that infringere articulos, that Qintillian speaks of as an elegant and come∣ly action in the Hands of the ancient Rhetorici∣ans, and so commendable that they used it as a Manuall introduction to their Orations, was no other but this Action.

Canon XLII.

THe Hands gently set toge∣ther by a sweet approach, causing a low sound by their

light encounter or complosion, make an opportune cadence of Action, to attend the close or pe∣riod of a sentence.

This Action was commended by the practice of Proaeresius that accomplished Oratour, of old time, the Master of brave speech, and grace in ready speaking, who publickly pleaded his cause at Athens to the great admiration of all men, of whom one of his Auditours, Eunapius, thus speaks: Proaeresius orditur flumen quodaam orationis singu∣los periodos pulsu manum finiens.

Canon XLIII.

BOth Hands smitten together with a certaine kinde of gra∣vity, doth affirme with Rheto∣ricall asseveration.

Canon XLIV.

BOth the Palmes held respe∣ctive to the body, declare benevolence.

Canon XLV.

BOth Palms held averse be∣fore the Breast, denote com∣miseration.

This Action, with this signification, I have ob∣served in some ancient painted tables, the Hands of cunning Motists. And verily, without the knowledge of the naturall and artificiall proper∣ties of the Hand, as Franciscus Junius well ob∣serves, * 1.108 it is impossible for any Painter, or Carver, or Plastique to give right motions to his works or Hand; for as the History runnes and ascribes passions to the Hand, gestures and motions must come in with their accommodation. The no∣tions (therfore) of this Hand may bee of good use for the advancement of those curious Arts.

Canon XLVI.

THe Hands addrest to both sides, are well disposed to satisfie or to request.

Canon XLVII.

IF both Hands by turnes be∣have themselves with equall Art, they fitly move to set off any matter that goes by way of Antithesis or opposition.

Canon XLVIII

VVE may use likewise the advantage of both Hands, when wee would

present by some ample gesture the immensity of things; some spaces far and wide extent, a great number, almost infinite, large af∣fections, or when the voyce is reiterate by conduplication.

Canon XLIX.

BOth Hands modestly ex∣tended and erected unto the shoulder points, is a proper forme of publicke benediction, for the Hands of an Ecclesiasticall Oratour when hee would dis∣misse his Auditours.

It was the custome of the Hebrew Divines, to * 1.109 observe this Decorum in elevation of the Hands for solemne Benediction. And the Romanists who in matter of ceremony much emulate the externall devotion of the Jew, in all their exten∣sions and elevations of the Hand, which they use in blessing, keepe them within these prescribed bounds: Not that there is any mystery in this point, only the elevation of the Hand declares that we have chosen heavenly things, according

to Origen, and the extension or spreading out of * 1.110 the Hands signifies the effectuall force of prayers, as Basil expounds it. Tertullian therefore regu∣lating the Hands in this rite to a decencie of mo∣tion, would have them temperately and mo∣destly erected; whereupon it seems to me, the Pa∣pists conforming their Rubrique to the Jewish Talmud, limit the Priests Hands, not to over∣top, or exceed the distance of the shoulders. This solemne Action, according to some modern Expositors, implies the solemnity of a presentati∣on of the Auditours to God in prayer, and doth denote unto them Gods favourable goodnesse, * 1.111 protection, and spirituall Benediction, desires God to confirme the blessing given, who opens with his Hands, and fills all creatures with his blessings, and seems to wish the accomplishment of all that is comprised in their Manuall vote. That Priestly Blessing or solemne Benediction, with which the Priests under the Law blessed the People, was apparantly uttered and pronounced by this advancement of Gesture: because they could not lay their Hands on all the Congrega∣tion, they lifted them up onely to the shoulder∣points: * 1.112 the ordinary forme that was then in use, was to impose the Hand, which could not be done with any decent expedition: and this the Levites conferred face to face, from the place where they stood. Such a solemne Benediction was that where with Melchisedech is said to have blessed Abraham, when he met him in his re∣turne * 1.113 from the slaughter of the Kings, and blessed him. The like was practised by the Hand of Aaron, when he lift up his Hands towards the people, and blessed them. And Symon the High * 1.114

Priest, the sonne of Onias, in finishing the so∣lemne service, lifted up his Hands over the whole Congregation of the children of Israel, to give * 1.115 the blessing of the Lord with his lips. The peo∣ple bowing themselves, that they might receive a blessing from the most High. The forme of which solemne Benediction the Psalmist gives us: Lift up your Hands to the Sanctuary, and praise the Lord. The Lord that hath made heaven and earth, Blesse thee out of Sion. For thus the Levites used to praise the Lord, and blesse the People. Spirituall Benediction having been ever accom∣panied with this sacred Manifesto of the Hands. Hence we finde it observed, that among the Hebrewes of old, when the Priest blessed the People, they used to erect three fingers, to wit, the Thumbe, the Index, and middle finger; by which number of their fingers they tacitely im∣plyed a Secret of the Trinitie. P••trus Blessensis seemes to allude to this action of the Hand. His * 1.116 Benedictionibus sacerdos alios Benedicens, protrusas ante vultum suum Palmas utrasque tenebat. Cum vero dicebat, Dominus, quod & Hebraico illo trino & uno nomine exprimebant, Tres digitos priores, id est, Policem, Indicem, & Medium utrius{que} ma∣nus, rectum & altius erigebat, & dicto it à, Domino, digitos remittebat ut prius. Addit statim: Quid per trium digitorum elevationem melius quâm Tri∣nitatis * 1.117 excellentia mysticè intelligi potest? a qua sci∣licet vera & plena Benedictio. A Gesture of the Hand, used in the same sense and signification, by the Pope at this day: who when he is carried upon mens shoulders in solemne procession, with the same posture of his Right Hand, and number of his fingers, bestowes his Canonicall

Benedictions upon the people, onely wa∣ving them into a Crosse. Buxtorfius sayes, * 1.118 that the moderne Jews, at the feast of their Passe∣over, when the Priest at the end of their Prayers Blesseth the people, he extends and spreads a∣broad his Hands and Fingers, which they call Ch••••umim, whereupon Schechina or the Glorie and Majestie of God, doth rest upon the Hands of the Priest: wherefore they give a strict charge that none of the people presume to looke upon their Hands at that time, unlesse he would be imitten with blindnesse. And in the Feast of Re∣conciliation, when the Priest pronounceth the Blessing, he extends out his Hands towards the people; the people presently hide their eyes with their Hands, it being unlawfull for any to behold the Hands of the Priest; as it is written: Behold he stands behind the wall, he looketh forth at the window, shewing himselfe through the Lattice: * 1.119 That is, God stands behinde the Priest, and looketh through the windowes and lattices; that is, through the spread Hands, and dis∣persed Fingers of the Priest, which the He∣brewes cast the windowes and lattices of the * 1.120 Hand. The Rubriques of the Romish Rites, which seeme a little to squint this way, prescribe three formes of Benediction for the Hands of the Priest. The holding up of the Hands be∣fore the breast: The crossing of the Thumbes: and the turning the little finger towards the people. All which have their severall seasons and significations in their Liturgie. Our blessed Saviour was a manifest observer of the Naturall * 1.121 forme of Benediction, and hath sanctified the Gesture to a more divine importance. After

Christ•• ascension, the Apostles communicating the vertue of his last Benediction, to o••hers; in th•• conveyances thereof used the same expressions by gesture, and were famous for the effectuall force of their prospering Hands: their exempla∣ry action was copied out by then successors, the illustrious, Fathers of the Primitive Church, whose Hands preserved Blessing, as their lips Knowledge. Christians in those ••ges being de∣voutly ambitious of such benefits, thought them∣selves happy when they could receive this spi∣rituall favour at their Hands.

There is a story in Gregorie Nyssen, of a Deacon of the Bishop of N••ocaesaria, who in respect of * 1.122 the wonderful strange things which he wrought by his inspired Hands, was sirnamed Thaumatur∣gus. Which Deacon being to goe a long and adventurous journey, requested a Blessing at the Hands of his Dioce••an; who li••ting up his Hands, most willingly bestowed this Manuall viaticum upon him. This comfortable elevation of the Hand in Benediction, hath a force at this day in the Hands of our Reverend Divines: And (ve∣rily) there is no Blessing formally confer'd, or authentically administred, unlesse the Hands de∣note their suffrages by their visible attendance, and appeare in a due conformitie to the words ditected unto the eare. And I never saw any Grave or Orthodox Divine from the Pulpit, dis∣missing the People with a Blessing, without this adjunct and formall concurrence of the Hands.

An Index to the following Rhetoricall Alphabet of MA∣NUALL Significations.

• A Figures out the XIX Canon.
• B FIgures out the I Can.
• C FIgures out the II Can. digit.
• D FIgures out the III Can. digit.
• E FIgures out the II Can.
• F FIgures out the X Can.
• G FIgures out the IX Can.
• H FIgures out the VIII Can.
• I FIgures out the XXVI Can. digit.
• K FIgures out the XI Can.
• L FIgures out the XXIV Can.
• M FIgures out the XXXII Can.
• N FIgures out the XXXIII Can.
• O FIgures out the VII Can.
• P FIgures out the XLVII Can.
• Q FIgures out the VIII Can. Digit.
• R FIgures out the XLIV Can.
• S FIgures out the XLV Can.
• T FIgures out the XLVIII Can.
• V FIgures out the XXXIV Can.
• W FIgures out the XXXV Can.
• X FIgures out the XL Canon.
• Y FIgures out the XXXVII Can.
• Z FIgures out the XLIX Can.

The use of this following Table, besides the ex∣hibition of the Manuall Figures of Rhetorick, may be for an Alphabet of Privie cyphers, for any kinde of Secret intimation.

To make up the Alphabet, C. D. I. Q. are taken in, out of those supernumerary Gestures, fol∣lowing, under the Title of Indigitatio.

[illustration]

[illustration]

A Pacificat.

[illustration]

B Auditores mitigabit.

[illustration]

C Meotericis orditur.

[illustration]

D ad monstrandū valet.

[illustration]

E Modus agendi.

[illustration]

F Admiratur.

[illustration]

G Hortatur.

[illustration]

H Rationes profert.

[illustration]

I Flocci facit

[illustration]

K Deprecatur

[illustration]

L Sic ostendebit seipsum.

[illustration]

M Negabit.

[illustration]

N {per}spicuitatem illustrat.

[illustration]

O Exclamationem aptat

[illustration]

P Antithes in exornat.

[illustration]

Q Argumenta digorit.

[illustration]

R Benovolentiam ostendit.

[illustration]

S Com̄iserationem denotut.

[illustration]

T Im̄ensitatem aperit.

[illustration]

V Valdè aversatur.

[illustration]

W Execratione repellit.

[illustration]

X Addubitabit.

[illustration]

Y Dolebit.

[illustration]

Z Benedictione dimittit.

Notes

• * 1.1

  Anaxago∣ras.
• * 1.2

  Galen de usu partiū lib. 1.
• * 1.3

  Arist. de part. Ani∣mal lib. 4 cap. 10.
• * 1.4

  Plutarch in moral.
• * 1.5

  Galen de usu part. lib. 1.
• * 1.6

  Scaliger ••xercit.
• * 1.7

  Hippocra tes in lib. de flatibus Greg. Nyss. l. de Hom. c. 8.
• * 1.8

  Cassiod. l. de Anima cap. 18.
• * 1.9

  Plin. Jun. lib. Epist. 19.
• * 1.10

  Chiron.
• * 1.11

  Meletius de nat. Hom.
• * 1.12

  Philostra∣tus in vita Apollonii
• * 1.13

  Greg. Nyss•••• l. de Hom. opi••ic.
• * 1.14

  Fabius lib 11. cap. 3. de Inst. Orat.
• * 1.15

  Noveri∣nus in e∣lect. sacr.
• * 1.16

  Cap. 1. v. 24.
• * 1.17

  Proverb. 19. 14.
• * 1.18

  Acts 2. 3.
• * 1.19

  Acts 13. 12.
• * 1.20

  Ecclus. 9. 17.
• * 1.21

  Balzack.
• * 1.22

  In Specu∣lo Humo∣rum.
• * 1.23

  Athaeneus l. 1.
• * 1.24

  Idem.
• * 1.25

  ••uvenal l. 1. Satyr. 6.
• * 1.26

  Sueton. Calig. cap. 55. lib. 4. Cassiodor var. Epist. ult.
• * 1.27

  Monstra∣let. in Chron. Carol. 7. Franc.
• * 1.28

  Juvenal. Satyr. 8.
• * 1.29

  Idem Sat. 5.
• * 1.30

  Caelius l. 5. Antiq. lect. c. 9.
• * 1.31

  Lucian de saltatione.
• * 1.32

  Caelius l. 5. Antiq. lect. cap. 3.
• * 1.33

  Lib. de consulat. Maul. Theodor.
• * 1.34

  Petron in Analectis.
• * 1.35

  Anony∣mus lib. 4. Epigr.
• * 1.36

  Cassiodo∣rus l. 1. var Epist. 20.
• * 1.37

  S. Cyprian de specta∣culis.
• * 1.38

  Seneca Epist. 121.
• * 1.39

  Cassiodo∣rus lib. 6. Epist. ult.
• * 1.40

  Virg. in Epig.
• * 1.41

  Pier. Hier. lib. 35.
• * 1.42

  Zeno E∣leates. As Arist. writeth.
• * 1.43

  Diogenes.
• * 1.44

  Artemid. de Som. interp. l. 1. cap. 44.
• * 1.45

  Ribera Comment in proph. minor,
• * 1.46

  Pierius in Hierogl.
• * 1.47

  Plutarch in the life of Aeschi∣nes the O∣ratour.
• * 1.48

  Valer. Max. lib. a cap. 10. de pro••••ne. & apto mot•• corp.
• * 1.49

  Plutarch in the life of Ci••ero.
• * 1.50

  Idem ibid.
• * 1.51

  Aul. Gell. lib. 1. cap. 5
• * 1.52

  Val. Max. lib. 8. de apte motu corp.
• * 1.53

  Mr. Mayne, of Christ Church Oxford.
• * 1.54

  Philost. jun. de I∣conib.
• * 1.55

  Plutarch i•• the life of Demost.
• * 1.56

  Cresol. in Antholo∣gia sacra.
• * 1.57

  Chrysost. Hom. 2. de Davide,
• * 1.58

  Ambros. 62 Hexā. cap. 13.
• * 1.59

  Horace lib. 1. Od.
• * 1.60

  See Sandes Travaile•• lib. 1.
• * 1.61

  〈◊〉〈◊〉 Orat.
• * 1.62

  Talaeus in Rhet.
• * 1.63

  Epict. Enchirid.
• * 1.64

  Quintil. in Ruer. inst.
• * 1.65

  Claudius Minos in Talaeum.
• * 1.66

  Alstedius in Rhet.
• * 1.67

  Laert. l2. in vita Theodori.
• * 1.68

  Fabius Inst. Rhet. lib. 11.
• * 1.69

  Aristides.
• * 1.70

  Coelius var. lect. Cicer. de Orat.
• * 1.71

  Greg. Nyff. de St. Melet.
• * 1.72

  Eschines in Timar.
• * 1.73

  Valer. Max.
• * 1.74

  Plutarch in Nicia.
• * 1.75

  Cicero pro Coelio
• * 1.76

  Pierius in Hierogl.
• * 1.77

  Fabius Inst. Rhet.
• * 1.78

  Cresol. Vacat. Aut.
• * 1.79

  In Apolo∣g••a.
• * 1.80

  Plutarch in the life of Timo∣leon.
• * 1.81

  M. Tul. 2. in An∣ton.
• * 1.82

  Cicero in Epilog. Planc.
• * 1.83

  Cresol. va∣cat Aut.
• * 1.84

  Ovid. lib••. Meta••.
• * 1.85

  Statius l. 1. Thebaid.
• * 1.86

  Aelian Spartian, in Jul. Aug. Stat. lib. 1. Syl.
• * 1.87

  Lib. de a∣nima & re∣sur.
• * 1.88

  Cornut. ad Pers. Sa••. 4
• * 1.89

  Pl••••••nic••, the Right Hand is the South of the Mi∣crocosme; the Left, the North.
• * 1.90

  Plutarch in the life of Brutus.
• * 1.91

  Homer. ••di••.
• * 1.92

  Cresol.
• * 1.93

  Plautus in milit. glo∣rioso.
• * 1.94

  Fabius lib 2. cap. 22.
• * 1.95

  Dyonis. Hal. Rom. Antiq. l. 10 Cicero ad Attic. l. 1. Ep. 1. Liv••e, l. 25 Q•• Curti∣us, lib. 7. Apuleius Metamor. lib. 1. Hel. Aeth. Hist. l. 10. Libanius in Basilico
• * 1.96

  Ci••••ro, Tusc. ••.
• * 1.97

  Chrysost. Hom 2••. ad pop. Ant.
• * 1.98

  Idem Serm. 56.
• * 1.99

  Nonnus in Johan. Ev••••g. paraph.
• * 1.100

  Plutarch in the li••e of Fabius.
• * 1.101

  Cresol. l. 1.
• * 1.102

  Rhet. Inst.
• * 1.103

  Cicero in Bruto & advers. M. Callid.
• * 1.104

  Plu••arch in Gracch.
• * 1.105

  Philostra∣tus lib. 1. de vita Sophorum.
• * 1.106

  Cicer. pro Milone.
• * 1.107

  Idem pro Milone.
• * 1.108

  Francise. Jun. de pictura veterum.
• * 1.109

  Godwin in his booke of the anci∣ent rites of the Heb.
• * 1.110

  Origen Hom. 11. in cap. 17. Exod. Basil in Isaiah. Tertul. de Orat. cap. 13. Gavantus Comment in Rubri∣cas Rom.
• * 1.111

  ••ookers Eccles. polit.
• * 1.112

  Godwins Jewish Antiq.
• * 1.113

  Heb. 7. 7.
• * 1.114

  Levit. 9. 22.
• * 1.115

  Ecclus. 50. 20. Psal. 134.
• * 1.116

  Petr. Bless. Tract. contr. Jud. perfidiam.
• * 1.117

  Salomon Trecensis Comment in Script. idem te∣statur.
• * 1.118

  Buxtorf. ••n Synag. Jud.
• * 1.119

  Cant. 2. 9.
• * 1.120

  Gavantus in Com∣ment. in Rubric. Rom. Eccl.
• * 1.121

  See Math. 10. 53. Luk. 24. 50
• * 1.122

  Greg. Nyss. in vita Thau∣maturgi.