The ancient concept of ‘gesture’ had no place in the brave new world of Stanislavskian naturalism. Rhetorical gesture was understood as an adjunct of speech, hardwired to speech in the idiom of modern brain science. Classical gesture: refused to separate the physical person of the orator from his moral and intellectual capacities. The gestures of a Ciceronian speech were deemed to be implicit in the words. Renaissance gesture: raising the question of whether gesture is teachable. Shakespearean gesture: I focus on Bertram Joseph’s controversial research into gesture, and examine his work with Shakespearean actors presenting Macbeth at the Mermaid. Baroque gesture: contrasting Le Faucheur’s practice in the pulpit with the new approaches of Descartes and Le Brun. Enlightenment France: F. Riccoboni’s argument for an intelligent actor in control of his movements. Enlightenment Germany: Lessing’s desire for ‘individualizing’ gestures was not well received by actors. Engel followed Lessing in quest of detail, but Goethe return to tradition in order to find a language of the body that would support the delivery of verse.