When a few pages back I spoke of the _movement_ of the figures I was using the word as artists understand it. They do not mean by it that the figure is represented as moving its limbs or body. For this they use the word “action.” They speak of the action of the figure. But when they talk of “movement” they refer to the _way_ in which the action is expressed. They mean that one, continuous stream of energy winds in and out through all the undulations of the action. Thus, in the figure of _Moderation_: the action consists in the fact that she is seated, with her legs extended to one side, while her body turns in the opposite direction, and while the hands are stretched out in the direction that the body faces, the head is turned away. If you compare the action of this figure with that of either of the others, you will see how much more complicated it is; how many more windings it makes. And an artist would say that this figure has a fine _movement_, because through all the windings or undulations of action one can feel a continuous stream of energy; so that every part of the figure contributes exactly its natural share to the action, and the lines of the figure, from the toe to the hand that holds the bit, flow continuously and harmoniously. The only way in which you can see for yourself how fine the movement is, is to study it very carefully, and by degrees you will begin to discover how wonderfully the flow of movement is expressed. It may help you, if you put yourself into the same position, that is to say, make your own body represent this action. At first it may seem a little awkward, but presently, as you adjust your body to the actions, you will find that it seems easy and natural, for you will have secured a perfect poise. And, after all, it is the perfect poise in the action of this figure of _Moderation_ that helps to make the movements so fine.