. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. FIG. 228.—CAPITAL AT DEN-DERAH, EGYPT. See pages 396, 398. FIQ. 229.—GIANTS, TEMPLE OFAQRIGENTUM. See pages 396, FIQ. 230.—CAPITAL FROM CATHEDRAL AT RHEIMS, pages 390, 396, 398. 395 39^ rAIMTING, SCULPTURE, AND ARCHITECTURE. page 34, and the Greek Corinthian cai)ital, developedlater than either the Doric or Ionic, in Fig. 226, I)age 394. As fully exempli-fying this tendency, noticethe Egyptian temple at Ip-sambool. Fig. 227, page 394,A\liich might be paralleledby examples from
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. FIG. 228.—CAPITAL AT DEN-DERAH, EGYPT. See pages 396, 398. FIQ. 229.—GIANTS, TEMPLE OFAQRIGENTUM. See pages 396, FIQ. 230.—CAPITAL FROM CATHEDRAL AT RHEIMS, pages 390, 396, 398. 395 39^ rAIMTING, SCULPTURE, AND ARCHITECTURE. page 34, and the Greek Corinthian cai)ital, developedlater than either the Doric or Ionic, in Fig. 226, I)age 394. As fully exempli-fying this tendency, noticethe Egyptian temple at Ip-sambool. Fig. 227, page 394,A\liich might be paralleledby examples from India andiVssyria ; the later Egyptiancapital from Denderah, , page 395 ; the giants fromthe Greek temple of Zeus atAgrigentum, Fig. 229, page395, to which might be addedthe well-known caryatides inthe Erechtheum at Athens,not to speak of the figures inpediments, and entablatures,as illustrated in Figs. 148,page 223, and 215, page 387;and, finally, the method ofdealing with forms, which wefind in the later decorated Gothic, as in the capital andthe corbel from the cathedral at Rheims, in Fig. 230, page395, and Fig. 231, page 396.
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