Many theories have been presented as to why Napoleon is traditionally depicted with his hand in his waistcoat. Some of these theories include: that he had a stomach ulcer, he was winding his watch, he had an itchy skin disease, that in his era it was impolite to put your hands in your pockets, he had breast cancer, he had a deformed hand, he kept a perfumed sachet in his vest that he'd sniff surreptitiously, and that painters don't like to paint hands. A simpler and more elegant theory is contained in an article entitled, "Re-Dressing Classical Statuary: The Eighteenth-Century 'Hand-in-Waistcoat' Portrait." by Arline Miller. Art Bulletin (College Art Association of America), Vol. 77, No.2, March 1995, p.45-64. Miller points out that the 'hand-in' portrait type appeared with "relentless frequency" during the eighteenth century and became almost a cliched pose in portrait painting. The pose was used so often by portraitists that one was even accused of not knowing how to paint hands. "In real life," Miller observes, "the 'hand-held-in' was a common stance for men of breeding." Miller goes on to give many examples of this posture in painted portraits dating from the early and middle 1700s, well before Napoleon's birth. In 1738 Francois Nivelon published A Book Of Genteel Behavior describing the "hand-in-waistcoat" posture as signifying "manly boldness tempered with modesty." Miller says that the hidden hand was a feature of some statues of the ancient Greeks and Romans and that later painters based their poses on classical models. The pose was recommended by certain classical writers as a useful posture for orators. Aeschines of Macedon (390-331 B.C.), an actor, orator and founder of a school of rhetoric, who wrote an important book on oratory, postulated that speaking with one's arm outside the toga was considered ill-mannered. A number of textbooks on oratory published in the eighteenth century, following Aeschines, recommended this gesture. Although Miller doesn't mention it, it is possible that the great French actor Talma, who reportedly trained Napoleon in Imperial comportment, may have been familiar with these works.