The passage above (in my translation) presents the incipit of the Passion Isabeau (1398 — hereafter: PI), a narrative text leading readers and listeners through Holy Week, a sacred period fraught with potential for gestural expression (e.g., ritualistic, experiential, theatrical). When viewing the illuminated scenes of this text, one is struck by the intriguing gestic language used by the persons depicted, attesting to the miniaturists' skill while, at the same time, evoking the tableaux vivants of paradramatic stagings. What is interesting about gestures is that the bodily movements of the persons captured on canvas or elsewhere are frozen in time but come to life on stage. In art or theater, gestures are prompted bodily reactions, and sometimes a cognitive disconnect is involved, especially if movements do not achieve the response which they are intended to elicit — for example, acceptance or approval. While there are many variables (some of them indistinct) operating simultaneously to produce a gesture, within the present essay gestural communication is seen as unambiguous, having predictable outcomes.