What's with the leaning?

A couple of observations about "Holy Week in Sevilla, 1879. Bear with me, I got carried away:

A) More than a few of the figures seem to be leaning uncomfortably. The elderly sharp-faced gentleman in the red cloak caught my attention first, but then I noticed that not only was the friar also leaning forward towards the crowd (excusable in his case, since he's preaching), but the man in green near the center of the crowd is also leaning unnecessarily forward. That's an uncomfortable position for someone who wants to keep his eyes raised preacher-ward. The man in the violet coat is also leaning forward, a posture emphasized by the erect and comfortable appearance of the young man in black with the impressive cane. The don Juan figure at the center of the action (obvious seducing the girl while disregarding her midget-like dueña) has his foot out in the pose of what C.B.Johnson once called a "teapot actor," and is leaning slightly from the waist. So what's with the leaning? A simple ruse of the painter to lend dynamism to the scene, or a sudden onset of backaches?

B) Going back to the dandy in the middle, I'd just observe that the guy is putting the event to a different use than it is perhaps intended for. I've been perusing Michel de Certeau Practice of Everyday Life, a book that examines how the uses to which 'users' (i.e. consumers) put 'products' (Certeau, who was a Jesuit, even invokes Spanish Catholicism in the 'new' world as a product used by the Indians) often varies from what the 'producers' envisioned. Users, in Certeau's scheme, become producers of sorts: "users make innumerable and infinitesimal transformations of and within the dominant cultural economy in order to adapt it to their own interests and their own rules" (xiv); he discerns "in these practices of appropriation indexes of the creativity that flourishes at the very point where practice ceases to have its own language"--in other words, when we stop talking about producing and start talking about using or consuming (xvii). Certeau sees a small kind of resistance in those deviations from the proper use of products. Might this be an example? While undoubtedly a 'user' of the religious spectacle, the dandy's putting it to his own use, and is thus a producer whose product is 'the practice of everyday life'--in this case, a seduction, something going back at least to the Arcipreste de Hita.

C) I think we might go so far as to consider the flirtatious socializing in a religious context a quotation in as much as it appears in practically every Comedia ever written (though I have to admit, I haven't read them all). In the costumbrista context, that quotation says something abut Spanishness, but what does it say?

D) Does anyone know anything about the procession? What's up with the lamps? I'd be curious to know more...

E) The indumentaria and hairstyles are fascinating. One doesn't often see depictions of the Spanish 19th century--at least I don't, not as often as I see photos from the English and US 19th century. I guess I haven't watched enough cinematic recreations of Galdos novels. While the women are pretty much what I'd expect, the men are dressed all different ways. The colors are remarkable, first of all. Was that usual? The more stylish gentlemen are holding toppers and canes, but they wear their hair in a small ponytail. Was this the style? (I just went hunting for a comparable picture from England, and though I didn't find anything exact, I found a painting by William Powell Frith that shows a middle-class crowd scene: Ramsgate Sands: 'Life at the Seaside', 1852-4. It is zoomable like Damian's picture. These are the kind of 19th-century people I'm more used to seeing.)

F) What's with the absence of rogues and urchins? One would expect at least one Lazarillo among the crowd, but all seem comparatively well-dressed and prosperous.