The composition is said to express allegorically that pure
and serene pleasures are benefits derived from the god of wine.

[Illustration: Fig. 65.]

[Illustration: Fig. 66.]

This is a fair example of the critical acumen of art-commentators.
The gestures of the two nymphs are interesting, but on very slight
examination it appears that those of Galene have nothing to do with
beat of drum, nor have those of Eudia any connection with music,
though it is not so clear what is the true subject under discussion.
Aided, however, by the light of the modern sign language of Naples,
there seems to be by no means serenity prevailing, but a quarrel
between the ladies, on a special subject which is not necessarily
pure. The nymph at the reader's left fixes her eyes upon her companion
with her index in the same direction, clearly indicating, _thou._ That
the address is reproachful is shown from her countenance, but with
greater certainty from her attitude and the corresponding one of her
companion, who raises both her hands in surprise accompanied with
negation. The latter is expressed by the right hand raised toward
the shoulder, with the palm opposed to the person to whom response is
made. This is the rejection of the idea presented, and is expressed by
some of our Indians, as shown in Fig. 65. A sign of the Dakota tribe
of Indians with the same signification is given in Fig. 270, page 441,
_infra_. At the same time the upper part of the nymph's body is drawn
backward as far as the preservation of equilibrium permits. So a
reproach or accusation is made on the one part, and denied, whether
truthfully or not, on the other. Its subject also may be ascertained.
The left hand of Eudia is not mute; it is held towards her rival with
the balls of the index and thumb united, the modern Neapolitan sign
for _love_, which is drawn more clearly in Fig. 66. It is called the
kissing of the thumb and finger, and there is ample authority to show
that among the ancient classics it was a sign of marriage. St. Jerome,
quoted by Vincenzo Requena, says: "_Nam et ipsa digitorum conjunctio,
et quasi molli osculo se complectans et foederans, maritum pingit et
conjugem_;" and Apuleius clearly alludes to the same gesture as used
in the adoration of Venus, by the words "_primore digito in erectum
pollicem residente_." The gesture is one of the few out of the
large number described in various parts of Rabelais' great work, the
significance of which is expl