This passage discusses the depiction of human figures avoiding something dreadful, highlighting how different parts of the body should move in harmony with each other. It also explains how an expression of wonder can be represented through the careful arrangement of hands and head posture. Furthermore, it advises that in running actions, the limbs should not be arranged similarly to maintain the expression's natural feel.
Human Figures, Etc.
In that moment, Monsignor, without hesitation, noted well that he had delivered his depiction of Sebastian very anxiously to the Duke.
A figure that suddenly avoids something dreadful should bring the shoulder forward with a turn, moving the head in the opposite direction of the fixed object; thus, the limbs, as head and shoulder are connected, should have a consistent movement. In fright, it is common to raise the shoulders and bring the arms to the elbows against the sides of the chest, with the fingers slightly spread, having both in mostly a similar Action.
An action of wonder is suitably expressed when the hand bends slightly backward in gathering the fingers, and the last fingers in the turn are slightly spread. In this action, it is not improper for the head to bend backward more than forward, unless it concerns the object that would be amazed at from a low point, and must be observed closely. The eyes and eyebrows should be somewhat raised and open, the face somewhat stretched; as if the senses were elevated over something wondrous. But in older men (as it is said) the head should not exert too much. Such action can have greater or lesser impact, depending on whether it is performed with one or both hands.
In a running action, one should not arrange two limbs in the same manner, and primarily should